mikeweil

In English, Moonk, with the "oo" like in "look", would come close.

Although I have been fond of Munch's painting for many years, this is not the one I'd want to see in my living room. It probably was stolen on order - never understood those weird minds who want to posess such a thing. What's fun about sitting alone in your bunker staring at a painting?

Yet another BNBB refugee ... Can't remember how I got there, probably while looking for a forum for serious jazz discussion. Don't ask for the reasons to stay here ...

When you only sell a few hundred copies, they don't give you second albums at major labels. Sadly that disc sold very poorly. No one bought it. I ran into a shop and had a listen as soon as it was out, but Mirrors disappointed me - a little lame compared to the fire of any of his previous dates, leader or sideman. The "Poinciana Drum Groove" on one track was not nearly as engaging as Vernel Forunier's recording with Ahmad Jamal. Too polite, for my taste.

... and has anyone heard this 1972 Fantasy date? Seems promising, with Richard Wyands, Reggie Johnson, and Lenny Mc Browne.

Kenny Burrell's own Soul Call, recorded for Prestige on April 7, 1964 and available as Original Jazz Classics CD, has no sax, but Barretto on some tracks, and a great tasteful rhythm section (Will Davis, Martin Rivera & Bill English) - IMHO this comes closest to Midnight Blue, which is one real moody jazz classic. Both albums even share a tune, under different titles (Mark One on Soul Call). An overlooked Burrell masterpiece, I always felt - it was one of those LPs I immediately replaced when the CD was out. The 1959 live date from the Village Vanguard with Richard Davis and Roy Haynes on Chess is great, but hard to get. My RVG of Midnight Blue, BTW, gives April 2, 1967 as recording date, which is nonsense: it was recorded January 7, 1963!!! One more vote for a Connoisseur reissue of Freedom!!!

In Paul Bley's discography as a whole, both are oddities, of course - and if I remember correctly, that's about the way he sees them now himself. But as an experiment in simultaneous playing of several keyboards and successfully merging/contrasting their sounds, I think they rank very high. I personally prefer his contemplative approach on Scorpio a lot to Zawinul's sounds, or Jack Wilson's busy virtuosity, or even my favourite Herbie Hancock's, who did not display the best taste in selecting synthesizer settings.

Same here.

If he needs a rather simple menu and remote control, you have to go for a cheap player, as the number of features grows with the price. Lots of cheapos here for under 50 EUR, some even 40 EUR.

In case anyone's interested, the Freiburger Barockorchester just got rave reviews for their new recording of Haydn's Cello Concertos on Harmonia Mundi, by reliable German critics ...

I found it a little disjointed - would have liked it much better if it was all big band or all quartet. The Ape Women has a different title on another Verve LP - sorry can't remember - who was the arranger/composer?

I think he is from Brazil - he was a regular member of Airto's and Flora's band at the time and heard on many albums from that wider circle of Brazilians in the US. Not the most striking of guitarists, but he played some nice stuff on some. Didn't find him that annoying, although I can think of why he is not to your taste. He's nice on Cal Tjader's "Amazonas" on Fantasy (produced by Airto, with lots of Brazilians on it).

Thanks Dan, mine were sitting on the desk when I returned home on Saturday night!

I think I too will get me the Loussier Satie disc, after all. Never would have thought it is that interesting. But the Mereilles will the the first after my vacation

Congratulations, Marcus!!! You fooled us all the way with some items. Tony Williams with Tommy Flanagan: I knew Tony recorded in that trio, but the sound is so far from his - it must have been a loaned drumset, and as I said, it's very badly recorded. That Japanese bass drums team is a killer! I'm on my way to a week-long workshop in the Black Forest and probably won't be able to look here for the coming week, so thank you very very much, and can you give some recommendations for Luis Carlos Vinhas? I liked him a lot on the Herbie Mann Do The Bossa Nova LP, what was the trio he played in? Obrigado!

I thought everybody here had the Joe Henderson Milestone Years box set ...

Take care of yourself, Jim! If this is not just a contemporary phenonenon, you should try to reduce diuretic beverages (e.g. coffee, beer) and/or avoid/reduce drinking in the evening hours, but if that hasn't any effect, go see a doctor. Not being able to sleep through the night will cause considerable stress after short time.

But if I really had to pick one, it would be Monk. But remember how few recognized him when a piano solo popped up on a BFT?

I think one single tone - I suppose you are talking about one note, musically - is not enough - it's the phrasing, the connecting of notes that makes them distinctive, and that is inseparable from the personal sound. It would be fairly easy to find some single tone and edit it out and take it for one of the players mentioned, but back in context you would doubt it is the player you just guessed. I doubt that if any tenor saxist would hit the same note in the studio under exactly the same recording conditions, that we would get them all. But if they played one identical phrase, that's a chance.

You are right about that video. It is great. I was surprised at how short Israel Crosby appears to be, not that that matters. Most of what is available on CD of the Jamal-Crosby-Fournier trio is in the form of compilations that often do not include all of the cuts from the LPs involved. I believe I have noticed some few comnplete records being produced as CDs in Japan. I picked up one cd call Ahmad Jamal at His Very Best that had all of Jamal at the Pershing (which is avialable otherwise) and all of Ahmad Jamal at the Black Hawk which I believe is the last record this trio made. Tom You should watch his fingers - he had what German physicians call (literally translated) "drum-mallet fingers" - all fingertips look like they were caught in a press. I know someone who has this - looks strange, but is absolutely harmless. Not a disadvantage for a double bass player. Crosby was one of the greatest - period. He belongs up there with Blanton and Pettiford, IMHO. Mosaic would have done the Jamal trios long ago, but the recordings were tied up in "legal tangles", they answered my request some years ago. "Ahmad's Blues" and "Cross Country Tour" give much of the live stuff without doublings, at least. "Chamber Music of the New Jazz" is announced for the Verve LPR series later this year - I hope they use the original Parrott master tape without the reverb added. Sounds much better than the Chess LP. If they were clever they would include the four sides issued on Parrott 78's, but ...

12, not counting the burns of oop sets and the three I sold because I have the music in other issues. Don't ask how many are on my wish list ...

BTW - I urge anybody who likes the trio with Crosby and Fournier to get a copy of the video Jazz from Studio 61 - where the trio's interaction can be watched closely; they alternate with an all-star band with Ben Webster, Buck Clayton, Vic Dickenson, Hank Jones, George Duvivier and Jo Jones - watch Jo Jones rise his eyebrows as he watches Founier's brush playing!

The first trio Ahmad Jamal recorded with had Ray Crawford on guitar! Very underrated und under-recorded guitarist. Eddie Calhoun was on bass, followed by Richard Davis and then Israel Crosby. Vernel (neither Vernal nor Vernell!) Fournier replaced the guitarist.

Yeah - they were released on Ervin's Settin' The Pace; recorded in Munich at the same session as The Trance.

Universal now has the rights to this - the Prestige was licensed for a limited time. Better hope for a reissue in the series of MPS reissues by Universal in Germany and Austria - not unlikely, I think.