mikeweil

Just like the German proverb: "one's owl is the other's nightingale"!

Go ahead, please!

Ah, those commercial considerations ..... that's why I love albums that start with medium or even slow numbers. Same with live gigs. Play a heavy number to catch the audience and make them shut up.

I think way too much has been made of this, as often is the case - most people look for the spectacular, especially with individualists like Miles and Monk. IMO the musical differences, which are the root of Miles complaining about Monk's comping, are much more important.

Peter Keepnews gives a similar view of things in his notes to the Prestige Monk box set, quoting the sames remarks by Miles and Monk about what would have happened if Miles had hit Monk - even Miles in his autobiography admitted he would have been crazy to do that. Keepnews also assumes the personnel may have been Bob Weinstock's idea, at least in part. I doubt Miles would have hired Monk. Miles and the complete MJQ, that would have been a great idea. But Miles and Monk ..... Of course, both are playing great stuff on this session, but as I stated, their musical concepts are so different ... and Miles' big ego and Monk's stoicism were a dangerous combination. Monk was deeply rooted in the Harlem stride tradition, and I don't hear much of that in Miles.

Was that one taken at the session with Monk?

RON CARTER/HERBIE HANCOCK/TONY WILLIAMS Third Plane OJCCD-754-2 (Milestone 9105) ~ $11.98 It seems the other album, 1 + 3 is not in print at the moment.

This Beirach track is another gem for me, and I wonder if that was the first step leading to three more CDs with these musicians, homages to Bartok, Mompou and another composer I cannot recall right now. I have to dig out an interview with Beirach he gave after the Bartok disc came out. I linked them in the Bartok thread someone started recently. I dig this very much, a great alternative to other schools of jazz violin playing. I was thinking of Beirach and Hübner, but never heard any of their recordings, so I kept my mouth shut ...

Well, 9 CDs to get this one highlight of a track? What else do you really like on the set besides this one, which is a real gem and gives me the chills, too?

I hope you all drove to the side before maneuvering the players ....

Thanks Again and !!!!! You did it, you did it!!!!! (more to come ...)

Received today: Handel, Trio Sonatas op.2, by Sonnerie - beautiful, absolutely great performance! Schumann, Symphonies 1-4, Tonhalle Orchestra Zurich, David Zinman Musical Humor in the Bach Family - they were holding their sides ....

I just compared the two takes. Monk ignores Miles' routine of not having to comp behind Miles after the piano solo, he continues right through Miles closing solo and the theme, and the performance almost falls apart - Percy Heath seems unsecure, Miles not at terms with what Monk plays behind him, and it's probably due to the studio time deadline approaching that Miles didn't breakdown the take. On the second take Monk follows the routine in the end theme, but stops playing during the B section of his chorus. This to me resembles a method he later often applied with his own groups: he plays a chorus or part of a chorus and lets the bass and drums keep on playing. Now of course this is against Miles' esthetics and group conception ... so he he waits for a few bars and then drops in. Monk reacts with an unexpected fast time solo part and finishes his chorus. Maybe he was thinking about what to do. His solo on the first take is fascinating, but what he did on the second take is better, more precise, as if the first take had been a rehearsal. He hits all those chords in exactly the right places, but then in the B section he either decided to lay out or changed his mind or whatever. He would have nailed it in a third take, but seemingly studio time was running out, and Miles and Weinstock were getting impatient? I do not expect Weinstock to remember every detail after 50 years! Had they given Monk the chance of a third take or even a fourth, it would have been perfect. But that was not Miles' concept of the song. Monk may have disliked the fast chorus tempo: Listen to his version on the Black Lion sessions; He stays in the slower tempo, and uses his dissonant chords to great effect - he actually hears the stride references in the tune, which is something Miles probably didn't care much for. To me, a clash of totally different concepts of one song. Swing Spring from this session, BTW, although credited to Miles, always sounded like a Monk tune to me. At least it is very close to some things Monk has written, and considering Miles wasn't much of a composer and frequently "borrowed" tunes from other writers .....

I think Marcus Belgrave is more interesting in this release than Freddie Hubbard! Not a standout CD, but nice. Charles Davis is very good on this one, as is Roland Alexander. Mathews is better on the older session, IMO. Both LPs are complete on this CD.

That could be part of it, as it was indeed the last tune recorded at the session.

One more reason to get me the Future 2 Future DVD - I saw them live here in Frankfurt and was delighted! The second keyboarder was no slouch, too, playing a long solo on the encore piece (Chameleon) when Wallace Roney didn't want to solo that got Herbie's applause - Terry Linn Carrington was playing rather routine grooves and licks that evening. Thanks for the affirmation.

Amazon Germany has a June 21, 2004 release date for these - no info on the Disconforme site either. I'm afraid you'll have to wait until they're out.

One of mine, too!!! The Prestige twofer LP with all of Prestige's King Pleasure sides and the HiFiJazz LP was my first vocal jazz LP, IIRC, and I've been a vocalese collector ever since!

Together we will stand undefeated!

I think it is nice, bit not indispensable. It was recorded in Japan during a Headhunters tour. He did a short TV interview the evening of his Frankfurt concert, admitting he had always been an accompanist and didn't feel that comfortable playing solo, especially as they had been expecting some funky licks, but the band was already setting up on stage ... he said this was very hard to do without drums and proceeded to play some blues licks on the TV studio Steinway. The band live was fantastic, of course. In the original Japanese liner notes he said recording solo was a challenge for him - it was a request from SONY Japan - I think he never would have done this without them. For good reason he had some synth backing his Fender Rhodes soloing on side two, which I like and usually play as a meditative introduction to the Headhunters CD. The acoustic solos on side one are indeed a little meandering. Herbie is a reactive player using the rhythmic kick of the drummers as an inspiration for his counter-rhythmic lines, the rhythmic aspect is even more important than his harmonic sophistication. That was the main reason why the encounter with Corea worked so well.

If you count sideman dates, there are two LPs on JVC by the Hancock/Carter/Williams trio under Carter's name: Third Plane - July 13, 1977 1 + 3 - July 29, 1978 both probably available as OJC CDs. He also appeared on Wynton Marsalis' first Columbia LP, AFAIR. Herbie often sounds more relaxed and daring on sideman dates - and his mind was more on the funk experiments in those years, it seems. I recently saw a TV broadcast of the recent Directions tour with Hancock, Michael Brecker, Roy Hargrove, George Mraz and an excellent young drummer whose name I cannot remember right now, and Herbie played long dynamic solos, much better than on the Verve CD. Brecker was disappointing, playing clean, but too controlled. If Herbie cuts loose, watch out!

BTW it was Blossom Dearie singing on the 1952 Prestige recording, not Annie Ross!!! It was just Prestige throwing together their recordings for an LP issue of the 78's. AFAIK, Ross and Pleasure never recorded together.

Michael Cuscuna couldn't identify this singer when he prepared the Blue Note CD reissue of King Pleasure's sides for United Artist, Aladdin, and Score. Does not sound like Annie to me, either, and she sure would have insisted her name is mentioned! Probably some Hollywood studio singer doing a fine job. This solo was written out, anyway.

Before it's too late - i.e. the asnswers are posted - my guesses for the bonus disc. I have a lot of this stuff, but very little time right now this week, so I'll just write it down right here with no links - after a fast runthrough and short A/B comparisons with some items from my collection whenever I identified artists. 1 - Slim & Bam - Slim Gaillard and Bam Brown, Opera In Vout This is the four part version reissued on some Verve or MGM LP and CD. Smart move to spread this over the disc, two other parts are tracks 10 and 17. I have all of Slim Gaillard's records .... there is an unofficial live version on LP that's even better! I wish there was a video of one of these concerts, not just rthe Slim & Slam participation on Hollywood movies like Hellzapoppin'. 2 - Has been guessed ... Basie, Open The Door Richard 3 - Bird, Now's the time on Savoy 4 - ? 5 - ? 6 - ? I really dig this guitar! Will buy this! 7 - I'se a muggin'. Voice reminds of Louis Jordan, but that ain't him. 8 - Jimmy Liggins, Cadillac Boogie his was the only band I know who recorded a song "Drunk" and sounded like they really were drunk in the studio! 9 - ? Had to stop here. post, close and re-open the browser - had hit some wrong button and everything looked weird ... 10 - see track # 1 11 - Lady Be Good, no idea who 12 - more boogie piano 13 - great one!!! another must buy for me 14 - Raymond Scott, Reckless Night On Board An Ocean Liner (Columbia, 1937) now this ain't jazz in a strict sense, one might say, but it swings and any fan of small group swing will miss something! 15 - King Pleasure, Moody's Mood For love, but the 1956 Aladdin version! 16 - no idea 17 - see track # 1 18 - Major Holley & Slam Stewart playing/bowing/singing/humming Undecided, from that beautuiful 1991 Delos CD "Shut Yo' Mouth" (I'm glad they didn't!!!) I have all of their stuff - great good-spirited music 19 - No idea, but will get me this 20 - dtto. 21 - Big Jay McNeely, Insect Ball - the most creepy of all R&B hits! You thinkin' of the Cicada invasion? 22 - Smooth Sailing, Dodo Marmarosa & Lucky Thompson, Red Callender & Jackie Mills, recorded September 13, 1946 for the down beat label in California. Yours truly, your Lucky discographer... 23 - I think I have heard this one but can't pin it down ... 24 - Tom Waits - the piano has been drinking only because Tom poured some surplus liquor inside! 25 - Again, Mr. Big Jay McNeely I enjoyed this disc like mad and still do - my wife requested I spin at her 50th birthday party in 2006! I had a time when I realy dug deep into this stuff but haven't been listening to much of this as most of it is on LP, but this has got to change! Thank you so much for that jump'n'jive reactivation! BTW - is that the theme of the bonus disc - the relationship of jazz and blues, r&b and jive?

Who has his centenary this year? His piano punctuations are highly recognizable. Sweets Edison has a pretty incisive voice, man! The other "talker" is Bill Johnson. WE HAVE TO DO SOMETHING! B) -_- I have that one - but have to admit the box is not part of my daily spinning routines. There were so many versions ....