mikeweil

Jazz musicians' wives rarely get credit for their support. Thanks, Lorraine! and R.I.P.! As I understand from Dizzy's autobiography, she did quite a few things to help get it together in difficult times.

Has anyone mentioned the Riverside album Jaspar made? Two more flute tracks ... The companion to Flute Flight, Flute Soufflé, is nice too! I think Herbie Mann was one who never feared comparison with other flutists, recorded with several of them, encouraged David Newman to pick up the flute more often when he was in his band. Without a doubt he was the one who did the most to popularize the flute. The Savoy LP by Johnny Rae has Jaspar flute, too.

Maybe they have some arrangement with EMI in Spain: the Disconforme website distributes some Spanish Blue Note releases just as well. AFAIK the only 10" Blue Notes not on US CD were the Urbie Green, the Lou Mecca and the two Best from the West.

Two days to Germany! Discs were dropped into my mailbox on Thursday morning. Muchas gracias, Agustín!!! I'm spinning Disc 1 right now ...

I see a parallel to Hank Mobley in the Miles Davis Quintet: Coltrane will always be considered greater etc. Harold Land will unfortunately take second place after Sonny Rollins as long as there are jazz fans. But although Rollins may be the more important saxist, and he and Brownie were breathing as one man, as he reported, Land was just as perfect a foil. I like him better with Brownie than Rollins.

I know one Bud Brisbois from a number of West Coast big band sessions - the Briswold is probably a typo. A search in Bruyninckx shows a Bud Brisbois playing in the orchestras of Onzy Mathews, Billy May, Shorty Rogers, Pete Rugolo, Chuck Sagle, Lalo Schifrin, Henry Mancini, and Ray Brown, as well as numerous studio dates - your typical prolific West Coast session player.

The original release was on A & M! Musically, not in the vein of Verve, not even the Creed Taylor produced stuff with strings. Kellaway is a great pianist, he plays nice here, but much of the focus is on the cellist, who play with a wide classical gesture, some pieces feature a string section. I would place this in the light classical bin. If you are interested in the fantastic very individual jazz stylistics of pianist Kellaway, I'd say go for any of the other recommended CDs mentioned above.

You're absolutely right about this, but something seems so thoroughly unprofessional about the whole thing: Is that really her? As narcistic as most clips are, at least they give the impression that it is what they want to do. Not that much of them is perfectly calculated.

... welcome in the rule club ....

.... and have Mosaic distribute them?

I could need some donation myself , but for Organissimo, I'd give some bucks anytime!

Isn't all of the Mile+Mobley stuff currently in print now that the Blackhawk stuff has been released? I'm not sure why box sets are such a big deal for Hank's legacy. Of course you're right. I was just pointing out that these are the only studio cuts from a decade and half of Mile's Columbia recordings that aren't getting the royal treatment. At least Mobley's solos have now now been re-inserted into the recordings. I think that's the most important aspect of this! It seems to me Michael Cuscuna and Columbia want each box set to have some musical focus beyond the personnel involved, and the sessions with Mobley are somewhat diverse: A 2/3 studio album with a guest saxophonist, a live recording of the quintet with lengthy solos and a live recording with the Gil Evans orchestra added in not-so-brilliant sound. Besides, Mobley will never have the reputation and sales potential of a Coltrane, and that's a shame, and Miles is partly to blame for this. And Teo Macero - we probably would have viewed his contributions differently if his solos weren't edited on the initial releases.

I like the initial design combined with the web adress in the orange circle best. Could we make the logo available here and have some printed to save on postage etc. - I'd really love to have and wear some, but a hundred bucks is a little too much for my low budget right now. If I take the image on a floppy disk to my local copy shop, he makes me one on a high quality t-shirt for 25 - 30 Euro ... donation to the band not included ....

or should the last part read "jazz butt"? If that's on a thong, it wouldn't even be a lie ...

What's so unusual about this pairing? AFAIK Blakey was De Franco's drummer for some time in the first half of the 1950's.

Surely I'm not the only one here who buys Mosaic sets AND reads their liner notes, am I? But who of us was aware of it before he read the Mosaic liner?

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.