mikeweil

the school was founded by Heinz Bigler.....Joe was one of the first teachers on the school...i know him pretty good (we eat dinner together a few years ago....he's a nice guy and impressive pianist!) hmm.... I stand corrected. I remember an interview with Haider when he retired from that school a few years ago, where it sounded like he was the founder ..... they played together in that "Four For Jazz" quartet.

Tom Scott - Rural Still Life - Impulse His 2nd LP, he was only 18 or 19 then, and IMHO his best effort still. With Michael Lang, Chuck Domanico and John Guerin.

I'm with you here! She failed to develop her own style, I have another LP of her with Sir Roland Hanna which is nice, but she's not a top class jazz singer. Not a trace of her anymore on the scene here ...

Some research tells me he still is teaching at the Swiss Jazz School in Berne and has eductaed a host of young jazz drummers. That school was founded by Joe Haider, and he re-released several of his old recordings with Brooks on the school's label, JHM, including the Hampton/Haider Big Band double CD!!!!! Highly recommended!!!! link - there is an English version, too.

Sal Nistico, Jazz Workshop Wengen, Switzerland, 1984 Follow this link.

Well, he seems to be alive and kicking, as this photo from a Swiss festival with on of your favorite saxists ( ) shows: Reggie Johnson, Eric Alexander, Billy Brooks, Jazz-Nights Langnau, 19 July 2001

Nuria Feliu seems to be a Catalonian name, so go figure ..... That Billy Brooks was an absolutely amazing drummer, I once saw him in a club in a combo co-led by Sal Nistico and Benny Bailey, with Joe Haider and Isla Eckinger rounding out the ryhthm section. Every nuance of his playing showed in his facial expression, he breathed and lived his drums, every tiny bit of 'em! He was a pretty prominent figure on the European scene in the 1970's, especially in German speaking countries, but I'm afraid all of the records I have are OOP: Fritz Pauer Trio - Waterplants - EGO 4007 Pauer p, Isla Eckinger b, Brooks dr, 1977 Vince Benedetti - The Dwellers On The High Plateau - EGO 4005 Andy Scherrer ts & ss, Benedetti p, Eric Peter b, Brooks dr, 1977 East of Isar (no leader) - EGO 4010 Sal Nistico ts, Benny Bailey tp, Joe Haider p, Eckinger b, Brooks dr, 1978 Slide Hampton / Joe Haider Big Band - Give Me A Double - MPS 29 22311-6 Bailey, Idrees Sulieman, Ack Van Rooyen tp, flgh Bobby Burgess, Slide Hampton, Eric Van Lier tb, b-tb, tuba Ferdinand Povel, Andy Scherrer, Dexter Gordon saxes Haider p, Eckinger b, Brooks dr, 1974 Miriam Klein - Ladylike - MPS 21-21886-6 Klein voc, Oscar Klein g, Roy Eldridge tp, Dexter Gordon ts, Slide Hampton tb, Benedetti p, Eckinger b, Brooks dr, 1973 (this singer does an amazingly close Billie Holiday imitation - the US boys on the session had nothing but praise for her) El Babaku - Live At The Jazz Galerie Berlin - MPS 21 20894-1 Brooks dr, voc, fl, Carlos Santa Cruz, Donald Coleman, Charles Campbell congas, perc, voc, Burt Thompson b, 1971 Brooks' percussion band with some African and Afro-Cuban inflections. EGO was Joe Haider's own label. As soon as I have the technological facilities to do so, I guess I will have to transfer some of these to CD .... Last thing I heard of him was a teching job in Switzerlnad in the 1980's or 90's. Never understood why he didn't make it large-scale - he could scare the shit out of 90% of the drummers I have seen!

It seems to me there are, at least in part, differing attitudes and approaches towards a recording and a live performance. Part of it is to give the audience familiar tunes. Ever noticed how few of Coltrane's compositions showed up in his working band's repertoire?

Now, that I know that, it doesn't any more ..... -_-

..... and here's an album no fusion basher would have participated in: Arcana - The Last Wave Bill Laswell, Derek Bailey & Tony Williams

He also drew pretty much on his 1960's style with Miles for Wallace Roney's leader debut LP on Muse.

This site gives a comprehensive listing of her activities.

While I can follow your thoughts as seen from the psychiatrist's point of view, the features you described can tell us something entirely different if seen from an ethnomusicologist's point of view. All these musical features are common practice in African music - the African influence on Jazz as an important aspect of Afro-American culture is still heavily underestimated, IMHO. While these features might sound "childlike", this is only if seen from a European musical cultural viewpoint. We project our musical expectations to African cultural elements, where they have different importance and functions. This lead generations of social scientists to categorize African culture as childlike or close to states of madness (if you think of trance phenomenons in ritual contexts) - and it still does! This also applies to Monk's mastery of rhythm, which is the most important feature in African musical practice, and here African music has developped far beyond European music. I think your points are totally valid on their own, but should be enhanced by an intra-cultural African-American point of view - I think this applies to any discussion of jazz, BTW.

Very good points, Jim. I tend to say that what we call mental illness could be viewed as one type of behaviour "accepted" by society in case you are too frustrated by life and want to step out of your way and still stay inside your social context - at least as long as you are not treated in an institution. I can't help but think about Lucky Thompson as another highly talented musician so dedicated to his art he had to be frustrated by the business. I totally agree that it is a very individual thing - this is confirmed by every diagnosis of mental illness I witnessed.

Oh - didn't know that. Too bad ....

If one listens to the Black Lion sessions, there is not a trace of uncertainty. Some of the Giants of Jazz material I have heard sounds more like that.

This was reissued on CD by Rhino as a bonus to Genius + Soul = Jazz: Ray Charles vocals, piano Bobby Bryant & Blue Mitchell trumpet Glen Childers trombone Curtis Peagler alto sax Andy Ennis, Albert McQueen & Clifford Scott tenor sax Leroy Cooper baritone sax J. Lloyd Miller oboe James Markin guitar Edgar Willis bass unknown drums recorded ca. 1970 No arrangers listed - but Quincy wrote the original liner notes ...

To catch all the jokes one listen isn't enough, believe me ...

When Atlantic reissued two or three tracks from Virgo Vibes on the compilation Daddy Bug & Friends they credited Herbie Hancock properly.

What puzzles me even more is the fact that the Pearson Atlantic LP gives Jobete, the Motown asscociated company, as the publisher .....

I'm pretty much with you most of the way on that one, bro, but I gotta back out for MILLION DOLLAR LEGS. I am with you on this one - never bought it, you know why - but so it's a blank spot in my memory.

I think Black Beauty, White Heat, by Frank Driggs and Harris Lewine qualifies for a mention here. Lovingly assembled photos up to 1950. One of the best pictorial jazz books I own. As a textbook, Ira Gitler's Swing to Bop qualifies, IMHO. A book that gave me plenty of insight, but I hardly see it mentioned anywhere.

Thanks, Brownie, for recommending the Gioia book - got it today, and find it much better than Robert Gordon's "Jazz West Coast". Has some about Tjader too, as I suspected.

I too would say that he changed the sound to the heavier side, but the variations he played were highly complex and way above the level of most fusion of rock drummers. He played the same things on the ride cymbal, but they sound different because he used a heavier gauge. He liked to "bash" because he always found that almost everybody - audience and musicians - are afraid of the loudness of a powerful drumset - an experience I can confirm from my own stage experience. That's the reason his drums were upfront from the Lifetime period. I love this powerful sound. His interactional reflexes were still in full shape - I once saw a TV broadcast of Herbie Hancock with Tony and Buster Williams were he blew everybody away. And for subtlety, check the last trio recording with Mulgrew Miller and Ira Coleman. He was so innovative early in his career, he had to decide on a slight change of direction. His music was deep black. I love all of his records, from beginning to end!