mikeweil

That Atlantic LP was a reissue - the original was on Randy Weston's own label Bakton. And Booker Ervin is on it, too .....

..... oh so true .....

You got the message!

Jack Chambers' analysis of the session in his book "Milestones" - thanks to other board members for the recommendation - sums it up nicely. Any body else took up this book after reading this thread?

This is an album of all acoustic piano trios, each with a different pianist/bassist combination. Hank Jones, Cedar Walton, Kenny Barron, Bob James, Dave Grusin, Fred Hersch, Chick Corea, Brad Mehldau, Herbie Hancock, Mulgrew Miller and Monty Alexander are the pianists; Ron Carter, Dave Carpenter, Charlie Haden, George Mraz, Charnett Moffett, Eddie Gomez, Michael Valerio and Larry Grenadier are the bassists. This review at Amazon.com sums it up very well. Excellent album!!! *****

Some baroque bargains crossing my way today (all only EURO 5 or 10 per CD): Cantatas by Agostino Steffani, by an ensemble directed by Japanese lutenist Yasunori Imamura, whom I saw perform, reviewed and dig very much Corelli, Sonatas op.5, by Sonnerie, the group of premier British baroque violinist Monica Huggett Christmas Cantatas by Alessandro Stradella (the name sounds like a brand of ice cream ...) I know this is not the right season, but it's an excellent version, by a great Italian ensemble and on a rare, regularly very high priced label ...

I found a shop named Crocodisc in the Rue des Écoles when I visited Paris in the 1980's - is that the same?

I didn't know that story about Blues Bag ... I think this is the one bass clarinet album I would take to the desert island, even before Dolphy. I love that instrument, much more than the higher sibling. Bennie Maupin is great on it, Marty Ehrlich, Bob Mintzer and many other play some great stuff on it. I will have to get me that Milt Hinton CD ... Another favorite of mine: One of the most relaxed swinging albums I have. Mann (as well as Jack Nimitz) also plays some bass clarinet on this:

1. There always is at least one item you have but do not recognize 2. There always is at least one item or CD or artist you considered for your own upcoming test disc 3. You always make at least one guess that makes you slap your forehead when you read the correct answer Any more? B)

Today I received Michel Legrand's Legrand Jazz, which is part of French Universal anniversary series .....

Arrived today: Bach, English Suites, played by Christophe Rousset - stunning Brahms, Piano Quartets, by Domus Michel Legrand, Legrand Jazz - inspired by an BFT disc Harvey Mason, With All My Heart (Bluebird, all piano trios - WOW!!!) Debussy, Mélodies, by Sandrine Piau and Jos van Immerseel - beautiful

P.S. I have some doubts wether I get your question correctly - please elaborate what you mean when you say "swing" and "clave". Otherwise we risk talking in different directions.

I am convinced there may be more than one way to notate things - music notation is always a projection of sound into a less complex medium and displays certain aspects of the music and neglects others - that is the nature of the process of notation. If you know the one "right" way to do it - why hold back the information? There can be no copyright on ideas, just as there is no copyright on rhythm. Once you get into it, it will reveal you some secrets and keep other shidden depending of how deep you get into things. The Clave pattern in its different incarnations can be related to one beat, at the beginning of the pattern, or two, or four - it can be related to three or six beats as well, and all these rhythmic matrices are only approximations of the sound heard and felt. The clave is cyclic in nature. All non-Western rhythm is cyclic. And, please, remember there are many rhythms in oriental music that cannot be divided by two or three and are cyclic as well. There are African rhythms with five beats to one cycle. I think the basic concept of rhythm should be based on two things: 1. an elementary pulsation, a grid on which all sounds can be locked on 2. a concept of beat - but these beat can be regular in the Western European sense, i.e. the time span between them is of equal length - or irregular (I hate this European term), meaning the time span is of different length. Most rhythmic patterns thus can be displayed in an additive manner using three types of beats, one, two or three elementary pulses in length. And I'm talking about any rhythm from any part of the world, not just African or African-Americna music. Don't be afraid to share your knowledge - there's no way to abuse it or make money with it. I always shared my rhythmic knowledge and thoughts with anybody interested and was never disappointed. B) Or is this some rhythm quiz for the Organissimo members?

That Hal Gaylor Trio must be one of the hidden gems in the Riverside catalogue, it got favourable reviews when Fantasy did the OJC reissue. Walter Norris spends much time in Berlin to teach piano. Aladar Pege is Hungary's greatest jazz bassist, there are plenty of records with him recorded over the year - a first class bass virtuoso who can compare with the best. He is Norris' bassist of choice here. All the ENJA CDs with either Norris or Pege are very good, a friend of mine has them all.

Try Avant Browser, an add-on that enhances the options of MSIE, it's freeware and incorporates many of the nice features of OPERA. It's much easier to delete ALL internet files in MSIE through the Avant Browser features - and the program is only 1 MB! (which means you could download at home to a floppy disk and install it from there .... )

Well, how do you notate "swing" - in 12/8 or 12/16 time? I think the problem derives from the background on which Western notation was developped, where durations are very important - it was invented for writing down choral music - but with African-derived music the relative position to the beat of a musical event is much more important - and the placement of notes in relation to the beat or time is what makes music swing. The tension between different pulsations over the same beat happening at the same time, like in the sample in the illustration below. (from a very interesting work of a German colleague of mine, found here.

In any case, if posting from a computer other than my own at home, I always delete all internet files after logging out. Depends on the browser how it works, what browser do you use? Some browsers save passwords and usernames you fill in etc. and they will pop up automatically when you type in the first letter when you try to log in.

Pete LaRoca with John Gilmore, Turkish Women at the Bath McCoy Tyner, Tender Moments Mongo Santamaria's first 10" LP - enough reverb for a pile of albums!

That is one of Lucky's rarest albums, very nice!

I am too lazy to dig out my copy of the booklet, but IIRC, you're right with both.

which one? "clave" or "hybrid theory"?

Clave is the Spanish word for key, not in the sense of a tonal key, but the one you use for opening a lock; it also means the key of a keyboard, or the wooden pegs used on sea vessels to tie the ropes to. I always suspected the use of that Spanish term for two wooden sticks that are beaten together to generate rhythmic patterns might have dvelopped when African slaves used these pegs to beat out rhythms on the slave ships. In Afro-Cuban music, it means a specific pattern, or rather a family of rhythmic patterns which define a rhythmic cycle - practically all non-Western music is cyclic in nature, only European classical music developped concepts of playing music without the use of repetitive rhythmic patterns, or only in dance music. To notate that pattern always is an approximation - I had many discussion with my drum maker about this, and he passed this on to an ethnomusicologist in Berlin, who wrote his master thesis on the Cuban Rumba. He did measurements of the position of all the five strokes in a clave pattern relative to a metronomic beat, and found that they do not fall on exact places of the elementary pulsation like eight notes, or sixteenth notes, or triplets, but fall between these grids to enable approximations to any of these. There is very interesting research on the cognitive processes by which African and African-American players achieve this flexible playing with patterns. Other than deus62, I would say it is only a pain in the ass when you stubbornly stick to Western concepts of playing - you have to learn and practice how to play in overlapping parallel patterns instead of linear beats.

There are methods to notate rhythmic structures and patterns that have been developped by ethnomusicologists, based on the concepts of beat and elementary pulsation dividing the beat, that would allow such things, but I'm afraid it would look very complicated and not be very easy to read. And it would take a sophisticated graphics software like FreeHand (from Adobe) to do that. If you accept the equation of a triplet with a straight quarter note that is very much in common in jazz books, it could be done, but I think the problem would be more that jazz players tend to structure rhythm in a linear fashion similar to Western European classical music, whereas music based on the clave and other African-American music, in fact most non-Western music, is cyclic in nature, a rhythmic concept not common to most jazz players, who have to learn how to interlock with other players in a primarily rhythmic way. Or are you talking about the simpler problem of how to exactly write down a clave pattern in a swing-type phrasing with a triplet feel? That could be done with standard Western notation.

This has been suggested here several times - I'd go for it without hesitation! (although I like what I've heard of the Latin Jazz sides better than the straightahead .

Michael Cuscuna stated in his notes to the Mosaic box set that Alfred Lion couldn't remember the exact reason why "Back To The Tracks" was not released - it had an issue number, a cover design made and was advertised. He thought so many things were happening in those days. "Minor Move", I think, was not released due to the hiss in the ride cymbal - Rudy Van Gelder had recorded at too high a level. Brooks not really being a presence on the scene and thus not really being able to promote his albums may have been a reason. Lion skipped albums by artists after they had dropped off the scene or died, i.e. Leo Parker, Ike Quebec, Sonny Clark ... But many Blue Note artists were recorded more often than they could release on a realistic level.