mikeweil

How about Wynton Marsalis for the title role (I doubt Roy Hargrove would get a haircut for the role ...) - ?

If you'd assemble a list of great jazz vocal solists, Jimmy Rushing, Joe Williams or Helen Humes are likely to score a place, but I doubt Al Hibbler or Betty Roché would make that list. I find them to be as individual and great as Basie's singers, but the totally different band concepts required a different type of singers. Just as the type of instrumental soloits with Basie was different - can you imagine Hodges in the Basie Band? BTW: How many were in both bands? I know Paul Gonsalves spent a short time with Basie before joining Ellington, but who else?

I respect Shrdlu as much as anybody here on the board, I benefitted from his generosity and am eternally grateful for making some rare item available to me, and he knows this. I am not afraid of any battle, and there's noone to win or loose - the divine light takes on many facets, and noone knew better than Coltrane, who accepted religious beliefs of any kind with infinite love and acceptance. But still, thanks for the warning ... B)

Yeah, I'm hep to it! A prime representant of the entertainment side of jazz. Thanks a lot for that jive list!!!

I think a little more respect towards Eastern religion is in order. I hear a lot of prejudice in your statement, and I am pretty sure you would not tolerate someone calling Christian religion "garbage". Coltrane's spiritual quest was one of deep sincerity, and it certainly gave him something - and a host of other people. Each man to his own beat of the drum. To call him blind borders on the arrogant.

Must have been among my first ten or twenty, too, back in the days of vinyl. Herbie was a much better musician than his reputation, and featured an enormous number of great players over the years.

Ubu, if you dig the George Russell Jazz Workshop, you'll flip over the Atlantic Tentet album. I will remedy that situation you're in at the next occasion

The only thing I don't quite like with this album is that the first tune is so fast - I prefer medium tempo starters. But the particular choice of tune is very interesting, as Cannonball had produced a "comeback" album on Riverside for Eddie Cleanhead Vinson, who wrote that tune, "Arriving Soon". Compare the version to the one on Cleanheads album: But listening to the album now reveals I like it much better than on first listening, the groove is excellent and swinging, as has been stated, and all the musicians are in top form. The rhythm section with Wyton Kelly, Sam Jones, Louis Hayes, and Victor Feldman on vibes almost steals the show!

Oh my poor little purse ... thanks for reminding me about this!

How do you know?

Silver's first attempt at vocals came about when Jon Hendricks couldn't find the time to do one Silver had requested - Senor Blues was the result, sung by Bill Henderson and included as a bonus track on the "Six Pieces of Silver CD". I can understand that one might find them corny, but he had a message, and I dig Bey and the others. Have 'em all.

"I've Got A Feeling" from the Pentangle's second LP Sweet Child also resembles All Blues - it is credited to the Pentangle members, who copyrighted all their songs colleictively, no matter who wrote them. An old folk song could be the inspiration, but Miles' tune just as well.

There was an Atlantic Jazz reissue of the Tente LP which includes three bonus tracks, # 90983-2. I find Charles to be one of the most original of all jazz vibists, and can recommend any of his albums. The Original Jazz Classics CDs partly overlap, but swing like mad - his take on Third Stream Jazz had a lot more zest! That session with Shorty Rogers and Shelly Manne is a killer! This here, BTW, was the cover of his other Atlantic LP:

Same here. Very good to read to can become that old with drumming ..... R.I.P. I recommend Herbie Mann's first Atlantic Village Gate LP for a sample of his drumming. He plays a very good solo in "It ain't necessarily so". Another one is in "New York is a jungle festival" on the follow-up LP. I always thought he was born in Africa, BTW - the first Herbie Mann LP liner states he is from Dakar ...

I'd say in this case jsngry has to double his daily postings ... to make Überfunk happen.

May sound sarcastic, but I always thought many of his compositions or even more those of Glass were on that level ...

I'm still somewhat disappointed that Jsngry is still Dr. Funkenstein after he reached the 6000 level, especially after Jazzmoose passed the 5000 mark, and there can only be one Dr. Funkenstein! Need any suggestions?

So she changed her mode of operation?

Thanks, Chuck, for reminding me of the Roulette - of course I have it, but was too lazy to check my LP bin. My apologies - I love them all. But I can see why you think the Roulette is special. Mosaic should collect these all in one Select ... And you're right about that alternate, which is without Miles, BTW. Never heard it. If I were producing Fantasy reissues, I'd reassemble many an album ... that Konitz material would nicely fit on one CD.

Welcome back Daniel! Do you want to do Blindfold Test # 11 or # 12? It's your choice!

This always might bring up the desire for those still missing .....

C'mon! I don't believe a single word!!! p.s. give up - or give in - it's useless

What puzzles me is that my copy of THE GOLDEN FLUTE is a digipak, but has the other LPR releases listed underneath the transparent jewel. The sound on the Gloria Coleman is odd in one respect: the bass drum is almost inaudible. Rudy Van Gelder seems to have had problems with balancing the bass drum alongside the organ pedals and double bass, as he often mixed the bass drum way too low, IMHO. Or he simply didn't like it. He also has a tendency to mix the drums as a whole a little too low in the mix. You have to listen real hard for the bassdrum on all Jimmy Smith Blue Notes.

Getting back to topic: Considering the large number of tunes Miles stole or "borrowed" I wouldn't be surprised - but I also think that Pepper wouldn't have missed the opportunity to brag about it in his autobiography.