mikeweil

Just remembered that the title track on Beaver Harris' solo Lp African Drums is a 10 minute duo with Frank Lowe.

I dig his early recordings from the 1940's, just after he left Lunceford to stay in California and start his own band. There is a first volume on Classics that I enjoy very much, more is hopefully to come. This is another arranger - like Gil Evans - who grew up at the tail end of the swing era but went on to create real modern stuff - amazing.

A very nice album, I wrote a feature and concert review on him as it was just newly released. Still I think it's a little too controlled - Eastern Rebellion was a much looser band, live and on record, and groovier. Well, that's probably due to the difference between a working band and a studio group. Astor Place was a nice label - someone should re-release all their CDs.

Don't you know, after 6000 they start you over as a Newbie? The system at least seems perplexed - he passed 6000 and is still Dr. Funkenstein. Nothing beyond that .... ? Board moderatorsm, wake up, get out the champagne!

Irony has it I mentioned how rare Cosmic Music is on a thread about a new Coltrane release ... Oh my God ...

Some more visits to the beauty surgeon and she maybe looks like this:

Yes, that was Impulse AS-9148. There was a German licence on the label of a widespread TV/Radio magazine, too. David Wild lists four titles recorded at the February 2, 1966 session. They are the only tracks issued on Impulse LP at some time that have not yet been reissued on CD (maybe in Jpan?). Peace on Earth and Infinity were released posthumously on the Infinity LP AS-9225 (was that an Alice Coltrane LP?). Manifestation and Reverend King on Cosmic Music. Manifestation also showed up on a Best of compliation on Impulse AS-9223-2, a double LP, so Impulse still should have some tapes. I guess they either forgot about this session or cannot find a place for the tracks. 40 minutes of music are enouh for me - this is some of the rarest Coltrane.

I wonder, too !!! The Coltrane books I have do not mention Vinegar. Seems to me it would have been a lot less adventurous. For me, Reggie Workman was the man, rather than the (great) Jimmy Garrison.

These are the covers of his dates as a leader.

He did countless West Coast studio dates, jazz and non-jazz. His big sound is featured on many Contemporary sessions (most available as OJC, inluding two as a leader). His sound was the biggest!!! Only Jimmy Bond had a comparably big sound in California.

She' only a trifle better than Michael, acts like a real Jackson. Enacts herself. I still don't believe the "wardrobe malfunction" story.

Look ma, no hands .... oops Bet you wish you would have been the "assistant". Is it known who was, BTW?

My first concerts were jazz - I think I started a thread on this but can't find it. Anyway, it was the Oscar Peterson Trio with sam Jones and Bobby Durham. Second was the Herbie Mann group with Steve Marcus, Sonny Sharrock, Miroslav Vitous and Bruno Carr. Didn't go to rock or pop concerts too often. Gentle Giant may have been the first.

Same here !

Same here with German jazz magazines: Jazz Podium, Jazz Thing - haven't read a copy of Jazzthetik in quite a while. It is no coincidence that a feature article always corresponds to a new CD release and a tour. On the other hand, I can understand a magazine has to sell some, and depends on the public that goes for current events. As long as there is both the trendy and the classic and the undeground, it's alright with me. But that reaction to Phil Woods was plain stupid.

Didn't I say this Cat Shatner was going to be a pest?

Interstellar Space and Conqustador while driving!? I'd be hittin' the next tree in an minute or drive up some wall!

With all respect, I find Milt Jackson's vocals unbearable. Wide vibrato and doubtful intonation. Not a trained voice. I'd really like to hear Kenny Burrell's vocal album; I once saw a Japanese pressing, but way too expensive for me. Has anybody mentioned Kenny Dorham's Riverside album with vocals, This Is The Moment?

Not quite this view ....

I'm with you - please accept my sincerest condolences. My mother's passing last November still lingers in my mind, take good care of yourselves.

I wish my old Teleton receiver would still function: it had a blend knob enabling continuous sliding from mono to stereo ... a feature that is included in any mixing board, but almost never in hifi equipment - for jazz fans listening to early stereo recordings it works fine. Have any of you tried to use the mono switch, if there is one?

Listened to the "One for One" version of "Cascade" again today a couple times (still don't know for sure what it's called on "One for One" - see my post a couple above this one, for a full report). The interesting thing that struck me about both versions, is how the "Passing Ships" version sounds (more than any other tune from that session) like a 19-piece band. Very full sound, much greater than a 9-piece band. And the verison from "One for One" also sounds like a larger group than it really is. There's only a three-horn front-line on the "One for One" version, but it easily sounds like more horns than that (maybe 6 or 8?? - or at least 4 or 5). Very interesting. I would think that somebody else here has the 2nd LP of "One for One" handy, or at least a burn of it. If so, would someone (who has both "Passing Ships" and the "One for One" LP's) please lemme know what the name of the tune is, if you wouldn't mind?? - and I'd really appreciate any other observations anyone would have about the two different verisons of what are (in fact) really the same tune!!! B) Oh, there it is - didn't take the time to read through the whole thread, didn't make too much sense except for mouth watering as long as I didn't have the CD ... Yes, the writing makes both ensembles sound much larger! I'd like to have all of these sextet sessions!!!

Do you have One For One? Haven't yet had the time to cross-check, but there's is a track among the three sextet sides with Tolliver, Patrick a,d Maupin that is also on Passing Ships. Wonder why the titles are different.

"The Comedy" also has different takes for the first two tracks on side two on the mono and stereo releases. I only noticed after I had sold my LPs ... Rhino usually is pretty carefull with its reissues, so I wonder why they didn't take care of this.