mikeweil

Sorry, but this painting is inspired by a photo of Grady Tate: Sorry, the painting is definitely of Elvin. It was painted by Kevin Neireiter, who has a page at AAJ here (LINK), which clearly labels the painting with the caption: "Elvin Jones: Oil on Canvas 47 inches x 47 inches". Neireiter also has a website, www.jazzlandscapes.com, which also clearly labels the painting as being of Elvin. Thanks for the correction - my memory falied me here, this was discussed on some other thread here, someone had used that painting as an avatar, and the Grady Tate photo had been posted there. Great drummers, great photos, great painting, great board, .... all the best for Elvin.

If it were only the bank ...

He has a guest feature on James Carter's latest release, but as I understand, that was recorded two or three years ago.

Thanks! Revised listing: 9 out of 15 have been identified: # 1, 3, 4, 5, 7, 10, 12, 13 & 14. No clue on # 2, 6, 8, 9, 11, 15.

Hardly recognizable from your post exchange ... if it's them, this would be the first time I'm tempted to get me one of their discs.

Who's Bill Murray?

So far, only a little more than half of the tracks (8 out of 15) have been identified: # 1, 3, 4, 5, 7, 10, 13 & 14. No clue on # 2, 6, 8, 9, 11, 12, 15. C'mon, some more guesses, please!

You're right, brownie .... this was composed by R.C. Thomas, BTW, who is not a Brazilian, but sure hits that groove exceptionally well. Perhaps the most accessible track from that album.

I intend to get me a copy at the Frankfurt shop next Monday, so ...

Seems like Silver took his time in the studio to perfect his solos, he's lively, but not very conscious of the piece's form/structure - harmonically, as far as the chord changes are concerned, yes, but not building tension over the whole form. Judging from his announcements, he wasn't so relaxed. I agree on Blue Mitchell - one of the greatest hardbop trumpeters, and he plays his a.. off here. Amazing to hear his very personal mixture of lyricism and fire, much different than other trumpeters of his generation.

Well, what can you say ... I've seen him two or three times I think and he was a natural force behind the drums, and I wish him all the peace there is to fulfill his earth circle. Elvin rules!

Sorry, but this painting is inspired by a photo of Grady Tate:

My congratulations to both of you! Ya did it! Beautiful little gal! Be informed that there is a wellknown title figure of a very popular children's book over here, "Die Rote Zora" (Red Zora) - she is the leader of the pack ... what did you say about strong women in the family?

I will prefer a release by the company who owns the rights in the US - unless it's done carelessly. And if It's released at all. I'd rather buy some European release than never hear some rare stuff at all. BTW: In the case of Igor Stravinskij, it was the other way round: He re-wrote all of his compositions after his arrival in the US and had them published in the new versions to collect royalties from the performances, as the royalty transfer between the Soviet Union and USA did not work or his rights registered in the Soviet Union were not acknowledged in the USA, one of the two ...

No - it's the other way round: Norah Jones is Blue Note's Diana Krall - as Diana was there first. Beyond all envy for her success, compared to Norah, she sings and plays better. And swings more. I don't rush out to get this, but I will get it someday, and I have to say I like her music.

My favourite must be the New Orleans Suite, because that was the music that taught me to love Ellington. But they all have their merits.

I agree that it may be better to start with the studio albums of the Mitchell/Cook edition of Silver's band. They are a lot more relaxed although they have their share of uptempo numbers. This live album is all hot. The two bonus tracks are more laid back, so they may sound substandard to some, but I think they are a welcome change of pace. Alfred Lion and Rudy Van Gelder often rejected live material, it may have been for technical reasons rather than musical ones. One instrument being off balance or the like. Rudy used to close the mikes of each soloist after he was finished, and I have the impressions he was slow to react when he had to re-open the respective channel. At the end of the drum solo in the title track, he hastily fades in when the audience starts clapping, and leaves it open, giving more room ambience, listen to the change in sound! I wish he had left all mikes open all the time. He almost ruined Art Blakey's Orgy In Rhythm by opening and closing the mikes all the time, and reacting slowly when someone resumed playing. As he recorded directly to two-track stereo, there was nothing to be done when he missed the horns' entrance for a riff or theme. The better live engineers left all channels open all the time. I never liked Rudy's sound, nor the soundstage he preferred, drums and trumpet and most of the bass on the left here, piano and tenor on the right, with almost nothing in the center stage. A primitive conception of stereo. And he didn't know the proper place for the drum overhead mike, because you almost never hear the bass drum, only during drum solos. If the music wasn't that great ... BTW: did any of you ever notice that the theme, Cool Eyes, uses part of the theme of a tune Silver recorded on his only non-Blue Note LP, for EPIC, he called To Beat Or Not To Beat?

.... especially if you live in Mecklenburg-Vorpommern .... (for the non-German boarders: the name of the province with the town couw lives in) This face almost spoiled my vacation on Rügen island sveral years ago, grinning from every lamppost before election Sunday.

Don't waste your time - I know the Cosmos LPs in and out - it's not on them! The pianist has some McCoyish feel, for sure, but I have all the pre-Sahara stuff, and it is none of that. And for later McCoy the piano attack is too light, I think.

Nice to see things are running smoothly now. Always looking forward to the next one, yours truly ...

The 1988 Blue Note CD included two bonus tracks: Cool Eyes (alternate take) 3:50 It Ain't Supposed To Be Like That 6:21 Both had been previously issued on a Blue Note LP with leftovers (including the vocal version of Senor Blues and its instrumental flip side), called Sterling Silver.

Oh! That's why this tenor sounded so familiar to me ..... I maybe wrong about the strings on the McCoy Tyner Song For My Lady LP, but I'm still sure this track is not from this album. Alphonze Mouzon and Sonny Fortune were on that album. The drummer here does not sound like Mouzon.

I had this LP and know it is not from it. No strings on it, besides.

Some more search revealed that Thelma Carpenter recorded 12 sides on her own fpr Majestic in 1945 and 1946, another 5 or 6 for Columbia in 1947 and 1950, and an LP with the Henry Jerome Orchestra backing her for Coral in 1963. Bruyninckx says that other recordings of her are of no jazz interest. Besides the others mentioned before there are four sides with Bill Campbell & his Harlem Eight for Deluxe, recorded September and October 1946.

On the scene for more than 20 years, but still largely unknown and underrated, my favourite jazz singer active right now: website