mikeweil

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 .....

I saw him live in Frankfurt in 1979 at the old Sinkkasten club - it was Beaver Harris' band, with Grachan Moncur III, Ron Burton and Cameron Brown. Nice music, nothing earth shattering, but personal and played with conviction. Ken was a very nice guy, I remember seeing him with his one big case where he kept all his woodwinds in, including a bassoon, helped him haul it up the flight of stairs after the gig, and he was very friendly. I always thought I'd have to get all of his SteepleChase albums to payback a little for the warm music he played. Shame on me, I never did, and they're still available ... I'll have to get me some of these. It made me very sad to read about his death a few years ago, such a modest person. He and Dolphy were a great combination. Lots of humor in his playing, too.

PM sent!

You're taking the words from my mouth!

Nice to hear you like it, Jim! McKibbon and Percy Heath are our grand old bassmen, it seems to me. Al plays with a rhythmic self-assurance that really amazes me - this is where Andy Gonzalez comes from - and Johnny Benitez etc. And he does it on a 17th century German made bass fiddle! Al was the first Cubop bassist, learning the tumbaos, the bass patterns which are all derived from drum patterns, from the legendary Chano Pozo himself.

(Source)

RIP Mr. Clarinet - always enjoyed your playing.

So much good music that I don't have or even know ... sure looks interesting with these accompanists, or rather, partners. I don't have that album, but would like to express my deep appreciation of Solal as one of Europes premier jazz musicians. He's a towering prominence and has covered a lot of ground. As Dan Morgenstern expressed when commenting on a reissue of some Lucky Thompson with Solal (highly recommended!): Solal is one of the best, period!

As I said, I'd go for the George Russell any time!

Max Roach's percussion group M'Boom used a steeldrum (Roy Brooks played it most of the time), but I don't remember if it is heard on their 1972 LP; it definitely was used on their 1980 Columbia LP.

My oldest is Listen featuring Mel Martin with Andy Narell, recorded 1975 - 1977, on Inner City IC 1025. What is yours, BTW? Taj Mahal used Andy Narell on his 1971 LP Happy Just To Be Like I Am, but that's not jazz.

hah! cool beans! happens to me everytime I listen to it. Same here! Rahsaan still got us on our toes!

This is the new one:

Not yet, but I'm gonna get it! I have his previous CD, pictured above, and like it a lot, his rhythmic conception of bass playing is unique. It's unbelievable this was his first as a leader. McKibbon webpage

I have a guitar trio session by Upchurch with John Clayton and Harvey Mason which is very good, so this may be one to go for!

This Bartok homage by Richie Beirach, George Mraz and German violinist Gregor Hübner got very favourable reviews when it was released: link

... 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.