mikeweil

I think it's kind of ironic that Western mental health professionals in the 21st century still equate mental illness with possession by demons. If taken literally this is pretty close to the way traditional African cultures view this phenomenon.

No, no, and no ...

Same here since I have my BFT master finished

I have part of that on LP. Found it remarkable, all the more sonsidering the time it was recorded - he really had a message. Agree with Jim on the necessary forces.

Now that is precise timing: promise and request posted at exactly the same minute!

So how many brave men did sign up in these hot August nights and days?

I have almost all of Tjader's early stuff, and that's not among it.

hey, that's Mike's job! ..... too busy burning my own BFT discs, so he may proceed with my consent ...

No wonder - this may be his funkiest album ever!

Jim, you're flattering! There is so much music in the thread you linked that I haven't heard ... I just listened very closely to the ones I have, and, being a percussionist, I may be aware of some of the rhythmic/musical aspects that non-musicians may overlook. And I hate the sloppy watered-down stuff - especially German jazz musicians are sometimes hard to endure with their pseudo-knowledge of this music - most of them seem to think Getz is the real bossa nova! I must have overlooked that thread - I will check it out (mercy my budget ... )!

You're welcome! I even used this album at dancing parties! One of my five favorite jazz pianists of all time!

Ed Motta ... never heard of him. Did he study with Moacir Santos or acknowledge his influence? Gary Foster - well he has something in his sound that nobody else has - that very peronal way he ends phrases, that gave it away. I don't have that record, so you have to steal your mother's copy and send it to me . I will try to get that CD from which track 5 is - I have a Baden Powell LP he is on, but like him much better here.

Many, many thanks, Marcus, for this beautiful disc - I have never before enjoyed just listening to a BFT disc so much. I had started writing down my comments in a text file when I noticed the discussion thread was finally started, but these are my thoughts at first listen - I found no reason to revise them after repeated listening. 1. That's the kind of music I expected to hear in your BFT, Marcus! I'd say these players are Brazilian - it reminds of the things of Moacir Santos I have, who I think is a little more progressive than this, maybe they're just influenced by him. The voice and its use in the arrangement remind me of Moacir. OTOH the soprano and Fender piano sound much more "American" than the Brazilian music I have heard - so who knows? *** 2. "You're Lookin' At Me". I first thought of Houston Person with Ron Carter, but after the rest of the band sets in ... don't know if they ever recorded together in a quartet setting. That bassist likes Carter, but some of his pet licks are missing, so I'd say it's not him. Person? A saxist with Ammons and Rollins inlfuences molded into his own style - maybe. *** 3. Nice track! Gary Foster? **** 4. I can sing along with this bebop warhorse, but can't recall its name. At first listen the alto sounded like Bird juiced up a little too much, but he uses some devices invented long after Bird's death, and this is stereo ... no idea. Accomplished beboppers, but a little inaccurate, not quite on the beat during the theme. I hear some Howard McGhee in the trumpet. Hmm ... Not Bird, not Stitt. Still no idea. **1/2 5. I would again say these players are Brazilian - this is similar to what the Bossa Rio group of Sergio Mendes played with Herbie Mann for Atlantic, where they cooked much more than on Cannonball's Riverside LP. Drummer sure sounds like Dom Um Romao - very wild ideas, open, this is to Bossa Nova what Hodbop was to Cooljazz! Pianist could be Mendes - I like this much better than the tepid tinklings on his Atlantic LPs. But the tenor? No idea! The closing arrangement is great! Can I have a copy of that album? Is it available??? The ideal merging of Samba and Hardbop. Oh how I hate those watered-down rhythm sections on the Getz records - this is more like the real thing! ***** 6. "Four Brothers"! By one "brother", but can't tell which one. The doorbellist uses a fast vibrato similar to Lionel Hampton - Terry Gibbs? Nice, but a little too mainstreamy for my taste. *** 7. Oh, I knew that one right away! (link) I had earlier recordings of this pianist, but this album was the one I played to exhaustion, that made me really check him out. This didn't get off the turntable for weeks! Was one of my first CDs later on. This man has tremendous power at the keyboard, and it still grows with age! Great rhythm section, too, especially the drummer and percussionist. I like that they repeat that rhythmic lick in every chorus, keeping up the suspense. ***** 8. This is the kind of thing inspired by the Coltrane quartet's "vamp" tunes. That pianist likes his Tyner, for sure. I like the relaxed manner they play it in! I should know that tenor - some Trane disciple with a very clear style. Bet I have some records he's on ... ***1/2 9. Uhh, that bass drum sounds awful! Like one of those cardboard drums they used for selling washing detergents when I was a kid ... Ron Carter! Sure some of his pet licks. Drummer reminds me of Ben Riley, but the sound ... one of those dreaded 1970's recordings. Nice pianist, but no idea - I dare say he was older than Carter when this was recorded, or a rather conservative player. */*** (sound/music) 10. Now that's a much better recording, great bass sound and player, I'll buy that CD!!! Great interaction and drive. ***** Who in all the world is this???!!! 11. Some Erik Satie influence in the composition. I was wondering how they would get around to blow some chorusses, as these Satie things tend to go around in circles and lead nowhere, but they managed to make a nice transition. Again, no idea, but me like'um! A well-rehearsed trio. **** 12. Strange mixture. Reminds me of those Jazz Goes Baroque things popular in the 1970's. I love strings, but only if they use less vibrato than here - one baroque musician compared this thick vibrato to an overuse of icing on a cake - which it is here. NMCOT. ** 13. Very nice time feel, but the conga player should have played in a more open style, not just stick to his tumbao in straight Latin feel. He sounds like a late addition to the session, not familiar with the tune and the necessary accents. Why do they use a congero when they do not really integrate him into the piece?! I am all the more irritated because I like the composition and the relaxed understatement of the piano trio very much! *** 14. Again very nice, and again, no idea! I like the penive mood very very much! **** 15. 15 tracks for BFT 15 - a masterpiece of well planned musical enjoyment! Very nice programming! I think I have heard that singer before and like her ... Nancy Wilson? Muy obrigado, Marcus !!!

Dan, no need to justify yourself - I just went through all that myself and really know how hard it can be to chose ..... E-mail sent!

I have that Italian LP - they had that other Groove Merchant LP as well. The missing track "Aliyah" is included on the Beast Retro 12052 CD reissue (I Offer You). This CD sounds excellent - I bought it a few weeks ago from CD Connection for $ 9.39. Lucky's last session are very nice - I still have to get the three live cuts.

Singers always are an acquired taste - you have to like the voice in the first place. Beyond that you can appreciate what they are doing, but they won't send chills down your spine ..... I appreciate Ella and Sarah, but they don't give me the chills. Other singers do, or make me groove and swing. Or make you dream. They either touch you or they don't. Jimmy Scott is an individual stylist that deserves every bit of the recognition he at last got in recent years. IMHO we always should distinguish between appreciation and personal tastes.

And both of you have yet to convince me that African cultural patterns and the way other, non-African-Americans perceive them do not play an important part of this!

Pirchner-Pepl Jazz-Zwio: Gegenwind (Mood, 1979) Werner Pirchner vibes, marimba & whistling Harry Pepl ovation guitar Werner Pirchner was one of the most amazing musicians emerging from the Austrain scene in the 20th century .....

This is one of my favorite Andrew Cyrille sessions. On one of the takes of the title tune, he builds his solo entirely on the rhythm of the bass pattern, which is a Cuban conga de comparsa rhythm, and gives a master class in thematic variation.

The music from this album was my introduction to Lady Day, AFA conscious listening is concerned. My girlfriend at the time had a license pressing bought in Eastern Berlin. After I bought the Verve box, this session remined one of my favourites. Some appropriate masterful backing by Oscar Peterson, inspired horns, kicking rhythm, and the star of the show in fine form. Contrary to the commentary in the box I find Charlie Shavers' playing very good and not showing off at all, just expressing his exitement about Lady's good vocals and being on the date.

Yes, but Percy kept calling it his baby bass. The shape to me looks slightly different from that of a cello, and I remember reading he tunes it in 4ths like a bass, not in 5ths like a cello.

I remember reading favourable reviews in Jazz Podium about the Four For Jazz records - curiously enough I never had a chance to hear them. I know Peter Giger pretty well, worked as a roadie for his percussion band for two weeks in 1979 or 1980, and he lived in the town where I still reside for several years. He played in Albert Mangelsdorff's group after Haider's, was one of the avant-garde drummers of these days in Germany. He now lives near Dresden after marrying a rich woman and builds up a percussion museum. It was a wild and interesting jazz scene in Germany in the 1970's, much more varied than today.

He was on Eddie Harris' 1964 Columbia LP "Cool Sax From Hollywood to Broadway". There is one track of Eddie Davis with Cedar Walton, Kenny Burrell, Bob Cranshaw and Brooks from the same year on a Columbia sampler. These are the only pre-European recordings I could find.

The only hint in the liner notes of the LPs I have says he hails from New Jersey. Must have been in Europe since the mid-1960's - IIRC he belonged to that group of musicians that moved to Europe with Woody Shaw, Nathan Davis, etc. that recorded that MPS date.