mikeweil

He's perfectly right about this - but I'm afraid her ideas about her career are against it.

I wonder what will happen to ZYX' European distribution of Fantasy after all this.

I am looking for a copy of Kenny Burrell's Blue Note CD Pieces of Blue and the Blues - I have the companion CD from 1987, "Generation". Thanks for any offer.

it really is - an acoustic bass would not have fitted the style of this album as well. James Cammack does a fine job without getting too close to Jacoisms. Other than this, the musical value of the tracks seems to be seen as good throughout, that is why the opinions agree so widely this time. In retrospect I shake my head about not recognizing Eric Dolphy

Did you mix up these two tracks? The brother is on # 6.

Hmm.... it's not Elvin or Billy Higgins. Roy Haynes? If my previous guess on Ben Riley was wrong? But the bass drum and snare sound is unlike every famous and loved drummer, the engineering is terrible.

That is why the theme of track 10 sounded so familiar to me! I almost hear the piano voicings. But I can't locate this in my collection - I'm sure I have Hank's version somewhere ...

At Gibert Joseph in Paris: Rodney Jones, The "X" Field (MusicMasters, OOP, with Greg Osby) Hal McKusick, Jazz Workshop (French RCA reissue) and some French baroque music: Chambonnières, Complete Harpsichord Music (Olivier Baumont) Louis-Claude Daquin, Complete Works (dtto) Francois Couperin, Motets (Christophe Rousset, Les Talens Lyriques - I visited St. Gervais, the church where he worked) Christlieb Sigmund Binder, Concerti per due cembali (Les Cyclopes) ... I could have spent a fortune on French music ...

That Coltrane/Fuller was announced on the liner notes to the Transition LPs and one track was included in the sampler. That sampler was $1.98 when it was released. The other LPs were at $3.98 back in those days. The BN Paul Chambers twofer had what was available from the material recorded at that session. Nothing else available unfortunately! Another reason to consider them lost... Cuscuna would have certainly put them on the Chambers Select if they were still around! What a pity! Lon, I like those early Dylan albums too! I guess Wilson DID make a difference with Dylan. And then he was the first (or so one says, at least) black producer in the pop/rock business back then. ubu I remember reading something about the mishaps surrounding that session, but can't recall the exact source. Looks liek Red garland didn't make the date - strange enough that tenor man Roland Alexander took the piano chores for one track. Maybe studio time ran out and/or the date was abandoned. These three tracks are all that was recorded, that is for certain. The source, of course, was David Wild's 1979 Coltrane Discography (2nd printed edition). This is not yet included on his website. Cuscuna copied/edited Dan Morgenstern's liner notes from the Bluie Note twofer LP "High Step" for the "Chambers' Music" CD, including the supposedly wrong recording date: I'd say the project was abandoned after that unsuccessful first session.

That Coltrane/Fuller was announced on the liner notes to the Transition LPs and one track was included in the sampler. That sampler was $1.98 when it was released. The other LPs were at $3.98 back in those days. The BN Paul Chambers twofer had what was available from the material recorded at that session. Nothing else available unfortunately! Another reason to consider them lost... Cuscuna would have certainly put them on the Chambers Select if they were still around! What a pity! Lon, I like those early Dylan albums too! I guess Wilson DID make a difference with Dylan. And then he was the first (or so one says, at least) black producer in the pop/rock business back then. ubu I remember reading something about the mishaps surrounding that session, but can't recall the exact source. Looks liek Red garland didn't make the date - strange enough that tenor man Roland Alexander took the piano chores for one track. Maybe studio time ran out and/or the date was abandoned. These three tracks are all that was recorded, that is for certain.

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 !!!