mikeweil

Thanks a lot for your comments, brownie - and all the others, too!!! - very interesting read. I am not surprised that you identified some of the pieces righty away, but I am equally surprised what you didn't! Very gratifying to see some of the traps I laid out are actually working .... while others are not ... ................

Great to hear you like it!

You didn't happen to have a digital camera handy?

Let's call this morbus organissimus ...

He is one one of Roney's albums, I found out, alongside Seamus Blake. Other Steve Hall sideman dates are with Bob Mover and Peter Holts (with Mover on it, too).

In this case, rather Eric Kleptomaniac.

These are exactly my thoughts on how a tune of that caliber should be treated, BTW.

Wow! That's a helluva compliment! You got four tracks correct, one more in part, the rest is ..... very interesting as a comment to the music - I will explain later. Does that track on disc 1 make you hold back your guesses until you have identified it?

Looking forward to getting this during the next days. The articles in various magazines watered my mouth, your comments even more so. Very fitting remark about the Coltrane clones Jim!

I saw Kim Clarke in double bass backing Joe Henderson on his European tour with all-female backing (Renée Rosnes and Sylvia Cuenca were on piano and drums, all excellent). She was five months pregnant at the time and had to reach even wider over her belly for the bass strings, making it a little uncomfortable, but she swung the band! AFAIR she was with Material or some Jazz/Funk group of musicians as well etc. etc. - one of many underrecorded female jazz musicians.

And I was close to bet my hat you would start guessing on disc one ... What's on tonight, poor fellow .... At least someone else has a chance to identify some things before you do.

I guess you ask Noal Cohen (link in my post above for this) - I discussed details on this with him and sent him all details I had, and sold my LPs since then. As the bootlegs often mixed in tracks from other sessions, and edited them wildly, only a note-for-note comparison would yield reliable results.

The LoneHill reissues now add up to six CDs each containing two LPs - they call that the John Graas Project. Scroll down on their new releases page.

Most musicians - and fans alike - expect funk to have repeating bass lines - ostinatos. Miroslav's bass lines were funky, but he changed the all the time, no two bars are played exactly the same way, even on his funky Shepherd album pictured above. I have found out many people have difficulties relating to that concept of playing all variations of the bass riff - I find it thrilling. But many musicians have trouble keeping the groove when you start to play variations of funky stuff in the ryhthm section. Guess they have to watch out too much and have to keep up their own rhythmic senses, and cannot slip that easily into their trance-like state of mind they like to improvise in.

I like it - the classical attributaries of the artist, like on an autoportrait of a Renaissance painter: a skull, a book, a candle, a mortar ...

They just look at the surface - there it sounds odd. At least not like you are taught in music school. You have to dig inside the music to love Monk - but then it is eternally rewarding. Blue Monk sounds easy - just a blues tune. But to have it really say something .... I love Monk's first recording on Prestige, the live version with Griffin on Riverside, and Abbey Lincoln's. Most people play it too fast.

Yeah, Seamus Blake is nice! But does anybody here know anything about one Steve Hall - he played tenor alongside Blake on Kevin Hays' 1995 Blue Note CD "go round". He has a fantsatic, huge sound - but I can't seem to find any other recording?!?!

Zawinul acts like a primadonna, every now and then. Remember his reaction when "Mr. Gone" - really not one of Weather Reports grand albums - got a one-star-review in down beat? If you listen to Miroslav's series of quartet LPs for ECM with John Surman, where he redoes some tunes written for the first WR albums, you get the idea that a lot more of that band's early sound was Vitous than most of us thought. Shorter is the kind of personality that can step back when taking part in somebody's vision - Vitous will not. He is just as strong as a composer and arranger as Zawinul. Magical Shepherd is available on Wounded Bird Records - certainly not erybody's cup of tzea, but one of my favourite space funk records.

I really think all tenor guys have listened to Gene Ammons - I can hear a little bit of him in everybody, but he seems to be taken for granted. He was a very personal voice - but one that you will overhear after a while because it's so natural.

Your Royal Highness: Here is a table of tenor saxists I started to compile after our recent exchange of PM's on tenor saxers: Maupin Bennie 1940 Sanders Pharoah 1940 Harper Billy 1943 Watts Ernie 1945 Klemmer John 1946 Liebman Dave 1946 Wallace Bennie 1946 Garbarek Jan 1947 Pierce Bill 1948 Brecker Michael 1949 Freeman Chico 1949 Ware David S. 1949 Bergonzi Jerry 1950 Berg Bob 1951-2002 Grossman Steve 1951 Lovano Joe 1952 Mintzer Bob 1953 Hamilton Scott 1954 Murray David 1955 Shull Tadd 1955 Moore Ralph 1956 Sheppard Andy 1957 Eskelin Ellery 1959 Marsalis Branford 1960 Margitza Rick 1961 Thomas Gary 1961 Vandermark Ken 1964 Gustafsson Mats 1964 Coltrane Ravi 1965 Jackson Javon 1965 Turner Mark 1965 Allen Harry 1966 Smith Tommy 1967 Speed Chris 1967 Alexander Eric 1968 Blake Seamus 1969 Tsahar Assif 1969 Carter James 1969 Redman Joshua 1969 Potter Chris 1971 Please help me fill in the birth years of anybody missing.

Just found my tenor sax timetable, and Pierce was born in 1948 .... Forgot to mention Joshua Redman - he didn't invent the horn, but swings and has good spirits and all. I simply enjoy listening to him.

That's a hard question - I have to admit none of these guys moves my soul as much as Prez, or Lucky Thompson. But that's very hard to do ... I like James Carter a lot, too, and Billy Pierce, whose first on Sunnyside is excellent. Rick Margitza's tone gets to me, instantly. There are many great cats, methinks, but it is so much harder to get a disctinctive sound and conception these days.

Me too! Oh man, you're giving me a helluva good time!!!

Thanks for your comments, Jim! Now that's the type of elaborate comment that I hoped for - I expect everybody to write a statement that long!!! I was expecting mixed reactions to some titles and knew I was taking a risk by including four vocal tracks. I'm actually very surprised what you do like and what not. Nice to see someone knows the work of the leader of track 8!

This is still available: The Soul Of Jazz Percussion FSRCD 210 PRICE: 9.80 € Tracklisting: 1. Chasing the Bird 2. November Afternoon 3. Quiet Temple 4. Witchfire 5. Construction Crew 6. Ping pong Beer 7. Prophecy 8. Wee Tina 9. Call to Arms 1, 8, 9 by Booker Little, Donald Byrd, Marcus Belgrave (trumpets), Mal Waldron (piano), Addison Farmer (bass), Ed Shaughnessy (drums), Armando Peraza (conga). 2, 4, 5 (Little and Ellis Out) by Booker Little, Don Ellis (trumpets), Curtis Fuller (trombone), Mal Waldron (piano), Philly Jo Jones (drums), Ed Shaughnessy (perc. and vibes), Willie Rodriguez (conga). 3, 6, 7 by Donald Byrd (trumpets), Pepper Adams (baritone sax), Bill Evans (piano), Paul chambers (bass), Philly Jo Jones (drums), Earl Zindars (percussion). Recorded in 1960. The reissue of Warwick LPs is a mess - they were bootlegged frequently, in ridiculous compilations and incorrect or incomplete credits. The Fresh Sound reissues are reliable. These albums are all interesting - I bought the Fresh Sound LPs back then. Since Teddy Charles was producing many of them, you can find details in Noal Cohen's Teddy Charles discography.