mikeweil

... cause Carter now is under contract with Columbia! That fact most likely was the reason for the delay. You're right about the sound, and that there's not enough Griffin on it!

I've heard the Zimmermann, and his playing conception is brilliant, but I just can't stand the sound of these very brittle and cold modern Steinways he plays on. There is a new French talent who got rave reviews, and I found his cross-section very well played:

May I ask why you dislike the Immerseel? And has anybody here heard the Welte-Mignon recordings of Debussy himself?

Thanks - two more for the shopping list ...

She can play that's for sure, but a little too much at times. When I saw her perform with sax and drums it was all fast tempos with little dynamics and virtuoso modern bop solos, no space in the music, no real relaxation, and no room for building a climax as they always started at the highest level of density. A waste of talent, at least in that instance.

I know Lafitte only from the session with Lucky Thompson, which is very nice. Is his tone on his Jazz In Paris CD similar to that on the Thompson session? If so, I would go for it.

What are the next 3 to 5 CDs you seriously intend to buy within the next 4 weeks? Mine are: Jazz: James Carter, Layin' In The Cut Latin Jazz Quintet, The Chant on Japanese Prestige (if I can get it, amazon Germany just cancelled the order) Classics: Bach, English Suites, played by Christophe Rousset Froberger, Unknown Harpsichord works Vol. 2, played by Siegbert Rampe last space is reserved for something unexpected crossing my path ...

I'm a big fan of these sessions with Maupin, so this will find its way into my collection, for sure! Let's all keep our thumbs crossed!

Thanks for posting that fine article, and I'd say you're right with your conclusion. Most jazz fans think of the - in some way, from a Brazilian perspective - watered-down Getz/Gilberto recordings first, and Brazilian encompass the US recordings just as well. And discographical documentation never played an important part in Brazil. Songs had to be newly written for each Carnival season, and by printing recording dates on record sleeves the labels would have admitted they published a "dated" song, when they simply wanted to profit on an existing recording. The audiences knew their classic favourites, anyway.

Jos van Immerseel, playing the first book on a prime condition 1897 Érard piano, of the type Debussy used, this comes very close to his own recordings. Channel Classics CCS 04892 Debussy et son univers sonore. Preludes et Images. IMMERSEEL, JOS VAN - piano Erard 1897 The search function on the Channel Classics website will lead you to a sound sample in QuickTime format. This is now available as a midprice reissue, I have given it so several friend and they all were amazed. His commentary on Debussy's piano technique and this specific instruments are a great read.

it's four thousand and something + one if you count this post. I don't really care about postcount. That's the luxury of leaning back you get once you hit the high numbers. Oh really? So you post all this crap just for fun?! EVIL !!!! I just try to give y'all some fodder to debate so's you can catch up. Something keeps teeling me this won't work ....

I betcha. If my wife comes home and I don't have supper ready, pray for me ...

it's four thousand and something + one if you count this post. I don't really care about postcount. That's the luxury of leaning back you get once you hit the high numbers. Oh really? So you post all this crap just for fun?! EVIL !!!!

working on that 4000 aren't we testaman? YEAH AND BY POSTING SUCH CRAP COUW HAS MADE THEM 4000 ALREADY ubu Some got high post counts, some got royalty - you can' have it all .... c'mon ubu, you'll be up there soon enough .... but couw will be higher .....

This Cd is THE ONLY way to start with, because that's where the music started. If that isn't jazzy enough, well, you're right, since bossa nova had little to do with jazz when it was created. Sorry, but that's a fact. Jazz musicians discovered bossa nova as a perfect vehicle for their impro, but it wasn't jazz or dependent on it in its appearance.

Purely rhetorical question. :rsly:

That's the broadcast I saw!

Every music vanishes into space ..... some just takes a little longer.

Howdya know? Ours were used - there isn't a single pair left!

They allowed those wooden shoes to cross the border into Deutschland?? My grandfather had a small factory near Frankfurt where they made these shoes for the local industry - no Dutch exclusivity here ...

A crazy idea just struck my mind: We all change our user names and avatars for one weekend, and whoever is identified is out of the game .... wouldn't that be fun ... on Monday, all back to normal.

B3-er should deactivate that option fast! Or I'm gonna change to "Klaatu" ...

I'm afraid that reviewer expects the perfection of a studio date from a live recording, which can't be what this one is all about. This is plain fun, like in the olde days of tenor battles and greasy organ/tenor dates, the spirit is great, I almost smell the smoke in the lounge ... Carter doesn't occupy more solo space than the others, there's a spirit of camaraderie over that record. It's a pity they couldn't include the Aretha tracks or more of the other instrumentals. How abouit a Vol.2? Bought this yesterday and enjoy it thoroughly!

Thanks for clearing this up! I knew the story from the liner about Shorter reconstructing the date and suspected he mixed something up. That Tyner session with Shorter rather reads like a mixture of the Extensions LP (which had Shorter and is excellent, IMHO) and the Sahara LP, Tyner's first on Milestone. Maybe this session was one of the kicks leading to Eric Gravatt (who was with Tyner at the time) and Mouzon switching drum chairs - I remember an interview in German Jazz Podium magazine where Shorter stated Jack deJohnette and Eric Gravatt were both interested but had other comittments at the time. No way this was a funk session - Vitous first electric bass recordings, to my knowledge, were on Weather Report's Sweetnighter and on his second LP as a leader, Purple, for SONY in Japan. I saw the band on a German TV special recorded during their first European tour, with Mouzon still on board, but Dom Um Romao just arrived in lieu of Airto, and Vitous played some electric bass on that show. I'll have to look up wether he played electric on the Japanese Live double LP.

I have the One Way reissue of Moto Grosso Feio which gives August 26, the same date as for Iska. Didn't make sense to me. I had the Blue Note BN-LA issue before with the same later date. Thanks. Now: I've read somewhere there is an unissued McCoy Tyner / Wayne Shorter session, and believe it was the same date as one of these? Is this another error or two sessions mixed up?