mikeweil

Still think' about track # 6: If this is "You are too beautiful", it's probably not John Lewis, as he didn't record that in a trio context, or at leats I couldn't find it. None of the trio records of his I checked fit this track. But how about this - I don't have the record at hand at the time to compare.

There is this one, too: This Cd documents the birth of Cubop, as it was the first time Afro-Cuban percussionists were used as integral members of a jazz ensemble. There had been some experiments in that direction before (Stan Kenton etc.), but Dizzy allowed the Cuban rhythm and later the religious chants to shape the music. Be aware the two percussionists play only on two tracks. Dizzy asked both of them to join the band after the concert, but bongocero Lorenzo Salan reclined. Chano Pozo stayed with the band and left an indelible mark on Dizzy's career and the fusion of Afro-Cuban music and jazz. That concert took place on September 29, 1947; Chano Pozo was killed in a Harlem bar on December 2, 1948, after an argument about a drug deal ... a real tough guy, it is reported. Pozo had been a dancer, entertainer, and composer of some reputation before he came to the US, Mario Bauza recommended him to Dizzy (Mario and Dizzy had been trumpet section mates in Cab Calloway's orchestra, and it was then that Dizzy learned the first basics of Afro-Cuban music. There is an excellently compiled 3 CD box set from Tumbao records in Barcelona - this is a label of the Fresh Sound / Blue Moon group which has not the best of reputations on this board, but one has to admit Jordi Pujol did an indispensible job on reissuing classic Cuban recordings. Without his releases of this music on the Tumbao, Palladium and Caney labels most of this music would be unavailable or released only in crappy, inferior sounding editions without any liner notes. The Cahno Pozo box set containes almost all of his recordings, except for the Stockholm and Paris concerts from February 1948, which are available on Dragon and Vogue CDs, and the Pasadena and Royal Roost broadcasts, which are available on Tumbao TCD-102, omittiung only two ballads. The two tracks from the Blue Note CD are included in the box set, which makes a nice cross section of Afro-Cuban music with and without jazz influence in the late 1940's. I will post some recommendations of classic Cuban recordings on Tumabo next week after I finished some tax declaration with a deadline ... As general introductions to Cuban music sín jazz, I recommend: Cuban Counterpoint History of the Son Montuno - Rounder CD 1078 Afro-Cuba A musical anthology - Rounder CD 1088, which is an excellent selection of African-derived music that is the rhythmic basis of the music and often misunderstood From Afrocuban music to Salsa by Dr. Olavo Alén Rodriguez, a CD with a 170-page booklet in English that is essential reading. The topics not covered in the latter booklet are found in the lovingly written book by Maya Roy, Buena Vista, Die Musik Kubas: http://www.palmyra-verlag.de/ - this is the German publisher, the original edition was in French, I'll see if there is an English edition. There are several recommendable books on Cuban jazz in English, but the two above best display the non-jazz aspects. US journalists have a tendency to view everything under the aspect of jazz influence, which misses the point with Latin-American music, as it developped more or less parallel to jazz. I have a ton of so-called Latin jazz in my collection and will post some recommendations as soon as I find the time, which probably will be at the end of the month.

Well said, John! p.s. I was gonna make me a cappucino anyway ....

Very sad news indeed! I especially enjoyed him on this one, very deep, very emotional player:

I love that bonus disc!!! Thanks a million times!!! I had a time when I was spinning stuff like this every day, and I still have quite a collection of it. Sincerely wish I had more time for this right now, but there is some work to do with serious deadline. But as far as track 1 is concerned: click here for more!

One more thing: I, for my part, feel honored to distribute my musical preferences among such distinguished ears, and think the necessary input is okay, as it will be once in two to four years!

That pretty much sums it up for me, too. I know life is getting in the way of things - such things are keeping me from giving the BFT # 11 bonus disc a closer listen and comment on it, and I really dig that one to death! A short post or PM explaining the reasons is cool with me, and the fact that all participants' lists are public so that everybody can decide on their own will regulate things, in the long run, I think! If someone is just curious and acknowledges he can't comment much, that's cool, too - we had such cases and encouraged these members to participate nonetheless. Some need to be around for a while before they dare to post a comment - I was in doubt myself and hopped on the bandwagon only on the second round. Just wanted to find out what you folks think about this - again, freedom rules, do as you feel. I'm not the one here to tell you how to do it, I just try to keep things public and alive and thank you all for your input.

My conclusion is that there shouldn't be any confusion about this. Seriously, there's no trick going on here. What is played after the announcement that the tune is going to be "St. Louis Blues" is the introduction (verse / same as middle section of the tune) to... "St. Louis Blues". Yes, there is a similarity in the opening notes, but if you compare the two closely, it's not exact enough to cause this much confusion. If anybody is still confused, try singing the words ("Summertime, and the living is easy", versus "St. Louis woman, with her diamnond rings"). The "Summertime" lyrics don't work here. You're right, of course. But, considering many may probably listen more to instrumental versions of tunes and may net be familiar with the words, that melodic step a third down and up again, that both tunes share - I can see how it may mislead a casual listener.

It does!

Another member brought this topic up again in a PM. We both feel that after receiving the Blindfold Test disc(s), each recipient should at least post one note of receipt and appreciation or disgust or whatever. Just getting the music - and we all know how much work is involved - without even acknowledging the Test Master's efforts is not okay IMHO. Everybody should be able to give it a listen and post a response - or an excuse. How shall we handle this in the future - a blacklist?

I'll walk down to the basement into my practice room and play some of his pet licks during that time ...

My favourite Elvin anecdote will always remain John Coltrane's words after Elvin wrecked Trane's car: "I can always get another car, but there's only one Elvin!" So true.

This trick works, BTW, because the introduction of "St. Louis Blues" (copyrighted 1914) is very close to the main melody of "Summertime" (copyrighted 1935). Draw your own conclusions.

If you listen closely you will hear one of the musicians announce "St. Louis Blues" at the beginning of track 1. But to fool you, he starts playing the main melody of "Summertime" instead, which, when played in the same key, which is not like they were written, works out very nicely.

May I remind of the "rule" that if you exactly identify a track or a musician, please post a link rather than typing the tracks/names directly, to keep the discussion more interesting and making peeking not that much of a danger for future posters? It's cool, I had to learn this myself ... B)

At this point in time, RIP Elvin. Your spirit will guide jazz drums forever. I started spinning this disc after reading the beginning of this thread ....

No matter what condition Elvin, the great drum spirit, is in, my thoughts and prayers are with him. I was afraid to read something like this every day, and I suggest we wait until we can confirm this and stay neutral. Considering the description of his state on that gig recently, it's no small wonder. I sincerely do wish him all the best and ask you to join me - I have been thinking about him every day since I read that post. Let's not get overwhelmed by the negative potential of spreading news - or rumors - fast. Stay cool and send him the best of your spirits.

"Little known" would be a more apt description, IMHO, since if they're really unknown, nobody will tell you about them .... I have Rebecca Coupe Franks' first two CDs and find them to be pretty good, especially considering the fast company she had on the first one. I suggest you ask the label Justice Records for further info.

Ladies and Gentlemen, our first Organissimo Blindfold Test Party Disc Award goes to: RDK !!!

First impressions of Disc two:

If this is true, my view of the jazz vocal world and my financial plans for the rest of the year will be in disorder!

Yes, it is him, playing as a sideman for a younger guy. I just identified it, some hints posted above gave it away. I have this disc. That track didn't impress me very much in the first place, so WTF? Strange I didn't get the sax guy, as have been listening to him almost every day during last week! I think he is a bit too respectful in the presence of all the elders on that record. So much for my personal BT rule # 1: There always, I repeat: ALWAYS!!! is an item that I own but do not recognize!!!

Thanks a lot for these discs, Ray, there are two or three items on the first disc alone that I will run out and buy as soon as I know for sure what it is. They arrived here on Monday, but it took me three attempts to listen through the whole first disc, the first two times I was called away during track 4, so I know the first three the best ... Disc One: Track 1: Some heavy Garnerisms in the piano ... but the way he continues quickly reveals it can't be him - and he wouldn't have surrounded himself with two mildly mad men pitch bending their timpani and bowed bass. That pianist reminds me of ... wait a minute, I think I once had this album and sold it to get the CD, which I didn't of course, but sure, this is from this great album of one of the - unfortunately no longer - walking history books of jazz piano. Track 2: Let's play some reggae music .... is this Lester Bowie? No idea who the saxist is. Track 3: Nice groove, and a great example how close soul music and jazz were in the 1970's, at least in spirit. Who would cite Lady Day and Coltrane in a lyric at this time? I'd say this guy. Track 4: Very very nice and beautiful and a prime example of good jazz chamber music. It will be very hard for me to not rush out on hit the checkout button of some online record shop once I know what this is. I dare say the violinist is more classically inclined, but he improvises very well and takes his time, leaves spaces and interacts nicely. It gets even better when the bassist pulls out his bow, too. Now if only I knew who this is ..... Track 5: Again, no idea. That tuba in the ensemble may be a cue, but I don't know too much music in that vein, so I will leave the sleuthing to others. Track 6: I should know who this pianist is. Some monkerisms, almost if Monk suddenly had turned gentleman of jazz piano. Of course this is not Monk. The pianist I know well that comes closest to this approach to jazz piano, avoiding all superficial display of technical prowess, and - just like Monk - thinking out loud at the piano while recording, is John Lewis. If it is him, I hope this is the album some friendly board member is about to transfer to disc for me. Track 7: Keith Jarrett with Dewey Redman - or even from his Charles Lloyd days? Don't have the patience and inner calmness for that kind of stuff right now. Track 8: The moment the singer comes in is almost killing me!!! I cannot think of a more intense way of using vocal chords. Oh my God .... If it is this guy, it is clear I have too little of his music. I'll rush out and get this!!!!!!!!!!!!!!!!!!!! Track 9: That language sounded African to me at first, but the vocal gives away a little later. Some Pat Metheny and Lyle Mays? That saxist is not touching my soul, I know this is sincerely done, but it is not to my taste. Is it this guy? Track 10: Basically, a drum feature, and he starts out nice, but I'm disappointed he doesn't take it to more interesting places from there. He should have disassembled that phrase and develop it, a drum solo cannot be made up from technical phrases alone. Don't like his drum sound either. No idea. Is that a second guitar or overdub in the ensemble? Track 11: My mind was still occupied with the previous track when this one hit me - I surely would have appreciated this more at a different position in the program. I will have to listen to this separately. I was just wrecking my brains about the song title when the singer brought me relief. No idea who this is, but an interesting treatment. Track 12: Again, two guitars? Are these strings synthesized? Not very much natural room ambience around them. Will have to listen to this once more. Track 13: Shirley Horn? Very nice, haven't heard her do more lively tempos so far. Track 14: No idea - don't know what to think about this. A little too sloppy for me. Track 15: This needs - and deserves - some more, and closer, listening. So far, no idea. Track 16: ..... as you warned us, no need to AMG for this nice album. Great choice, a vastly underrated artists, although his singing is not nearly as good as hsi sax playing. Very interesting choices, thanks a lot! Now I have to see where to find some time to listen to that bonus disc .....