mikeweil

For those enjoying multi-guitar sets, "A Tribute to Wes Montgomery" by Project G-5, initiated and produced by guitarist Royce Campbell, might be of interest. Raney plays two tracks alone and two with Campbell with the rhythm section of Melvin Rhyne and John Von Ohlen - one of the rare opportunities to hear Raney with an organ! (Evidence ECD 22101-2).

I don't have that LP. I thought it might be that album because of the recognizable (and excellent) arranging but the organ player struck me as being pretty weak and I have heard much better from him elsewhere. How is the rest of the record? The first side of the Lp is pretty much in the style of that first track, with the brass section. Different ryhthms and tempos, including the first recording of Fischer's most famous Bolero Son, "Morning", his take on "Afro Blue" etc. Second side is just the rhythm section, and Fischer switches to piano. Cuco Martinez plays a great long timbales solo on the first track. Why do you think his organ playing is weak? I have the impression he used that rather extreme registration to avoid clashes with the brass, the bass, and the ubiquitous Jimmy Smith sound. He was more inspired by Brazilian organist Walter Wanderley than Jimmy Smith et al. But this was only his second organ date - "So Danco Samba" was the first, along with two Bud Shank dates - , so he developped considerably. Do you know his solo organ playing on the Revelation LP "Great White Hope"?

Didn't couw post in the signup thread he eventually would be too busy to post his guesses?

I do not see any hint at the rock/pop and jazz catalogues being seperated by the deal. They had to call their web domain "Fantasyjazz" as "Fantasy" was no longer available. But the CCR recordings were displayed on the same site. No separation AFAIK. Concord is not the worst to take over, and it stays in California, the vaults probably will not be moved with all the losses and all involved.

Don't blow your cool! Contrary to monster movie monsters, this so-called board monster can be deleted with just one mouse click on the button on the bottom left of the page, and another for confirmation, and say what? Your post count will stay the same ..... and everything looks as innocent as before, except for the post count .....

We better ask who of us was aware that it was his first "official" record date - I wasn't either. But it gets even better: His next studio session was part of his first VeeJay "Blues à la carte", only then did he record with Blakey, and that stayed unreleased at the time - "Africaine". The first released Blakey stuff was the Champs-Elysées session on Fontana. Figure that. Then came the Blue Note sessions for "The Big Beat". He was recording as a leader right from the start, along with his sideman dates for Blakey and, later, Miles. There were some private live recordings with Coltrane and Blakey at the time of "Kelly Great" I would really like to hear, then ....

I'm speechless. The early jazz sessions he did for Atlantic are among the discs I have spinning every month! RIP Brother RAY, and may you be a ray from the starry sky for us!

I know others have answered this. For me, the flute intro gives it away. I used to have the album in Daniel A's avatar, and I seem to remember that version being a bit faster. Of course, it's been years since I've heard that version, so my assessment of it could be completely off-the-mark! Now ain't that cool, luring us away from the real deal with his Duke Pearson avatar and such ?

This reminds that I borrowed my copy to one of my drum students a years ago - I had turned him to Alan Dawson and he wanted some more to listen to ... I first heard some Booker Ervin when Bellaphon Germany issued two double-LPs with the Space and Freedom Books and Settin' the Pace and The Trance in the 1970's. I have been a fan of "The Book" ever since. His Prestige sides, especially those with the dream rhythm section of Byard, Davis and Dawson, are the best in his career, IMHO. Very intense music, really rewarding if you take your time and listen real closely, and follow the fascinating four-way interactions going on. Excellent example for individualist jazz on the verge of "free" playing in its time.

brownie, you beat me by the minute! As for the track # 1 LP I'll give it a spin this evening and tell ya!

Yes I checked against the Mosaic edition of the album! If there's anothe trumpet in the horn section it plays only written parts.

Gasca was ? is ? great. Latin fire and modern bop sophistication. Too bad his recordings are few and even rarer on CD. What has become of him?

Sulieman moved to Europe like Benny Bailey and Art Farmer, played in the Kenny Clarke / Francy Boland Big Band like these, and did some dates as a leader for SteepleChase that are worth checking out. He died not too long ago in his US hometown.

Well, I happened to have a day off after a trip to Amsterdam for a gig, and time to listen ...

Oh no - I got 5 out of 15 tracks! Only 33,3 % .... in my initial post. Or am I right on some of my assumptions? I agree the level is very high here, but nevertheless the choices are great, and you have stumped me and everybody else with some tunes here! Sometimes we need a "fast" BFT like this to keep us goin' Randy Hersom's BFT was "fast" and was great fun to do! Nice to read guesses hitting and then missing - myself included. Regarding track 15: That was jest, IMHO, by the musicians involved ...

The name of that saxist was in my finger this afternoon, and I ain't got nothin' to prove it ....

Thanks John!!!

But I think the enormous effort we had to undertake to get snippets of information, which often were as puzzling as they added to our knowledge, and the gratefulness for what we got, along with the urge to find more, that cannot be replaced by anything - I don't regret this. It made me think on my own and listen to my inner voices as a guide through the music. It takes away some of the mystery to have a board like this, although the real secret behind learning to love jazz or any other music cannot be learned, that comes from within.

Well, I thought so and ducked away in time ... B)

I just noticed I stepped into some kind of trap - there may be as many types of jazz fans and listeners as there are people doing just that - listening to music and enjoying it. Only people professionally inclined listen to music they don't like. I respect everyone's preferences here - no need to argue about tastes. I did not intend to label anybody, but I know there are some people who really cannot feel such a cathartic shock as jazzmoose described. For whatever reason. I did not say this is defective, it is the way it is.

I said "if", and when they do, it IS a drag. There are some of these - I didn't say most, or many or whatever. There are people like you described, yes, and I was not talking about them. Among non-jazz fans, of course, the type I described is found very often.

Best wishes! Make sure to peek in here from time to time!

Perhaps the most important thing I have learned here is to take my time before posting and think about what I say - no matter if it's a guess on a Blindfold Test or a political statement - and to always try and be fair and aware there might be someone who knows better.

Well, I don't know if it's a preference, or just the easiest path to take. Well if you can always tell the difference, that's real cool ... B) Well said - I went through this several times. Grew - well, not tired, but a litle weary of hard bop and other styles for some time. But I think Chuck is right that there are people who NEVER feel such a shock that takes them to new areas - perhaps not because there are no such opportunities for them, but they simply cannot have that feeling. And if these act like attorneys of "the real jazz", that can be a drag.

NOT a mistake - only most people prefer to stay on the safe side. Staying the same all the time certainly is NOT jazz.