mikeweil

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

What do you think of the bonus tracks included? I know some diehard originalist in Frankfurt who passed by this CD because he found them to be inferior to the Lp as issued.

No more love for that beautiful album?! Or ist it just that so few have it? I'd be surpprised - it was one of the first Pacific Jazz titles Cuscuna reissued, and he hailed it as one of the labels classics, which it is, alongside the Mulligan/Baker quartet, Almeida/Shank and some Baker and Chico Hamilton.

As I said, that Sam Jones /Louis Hayes team was swingin' like crazy! In all tempos!

Oh, I'm the first this time ... didn't peek at the rest of the thread before I posted my guesses. Well, avoid the links, folks!

Very nice Blindfold Test, rockefeller center, and very well programmed, you should audition for a radio station! # 1: first track from this album - as a percussionist, I should have this album for the conga player alone. The bassist has never been my personal favourite, I have to admit. But the idea to play this tune that way was very cool! # 2: That tenor sax sounds familiar, but I can't identify him right now. # 3: I've heard this tune ... maybe I had this album ... no, wait a minute, I still have it! Of course! The sound makes think I should upgrade from my old LP ... (track 8 from this album). # 4: Got that one during the first bar! Have all of his records on this label. Great talent. And a great vocalist that sadly crossed over into the disco league. They wrote a number of nice lyrics to many a modern jazz tune, like this Hutcherson composition, written to celebrate his child's birth - the couple had children of their own to praise. I listened to them a whole lot back then, find the second and third LPs even better. (Track 2 from this album). # 5: Of course, track 4 from this album. # 6: Very very interesting, that slow bossa nova tinged 3/4 groove, and that mellow voice, like it a lot, but would have liked to hear more. Much too short. Who is this singer? # 7: I may have heard this. After repeated listening, I find it an interesting experiment, but too disjointed, the different ingredients not connected enough to make a tasty dish. # 8: Tenor sax and some electronically enhanced sounds - no idea who it is. Or is this Derek Bailey displaying his guitar effects wizardry? Nice, warm tenor sound, not as shreaky as most cats in such a context. # 9: I like the combination and witing very much in this piece, but the string quartet uses too much vibrato, for my taste. The pianist shows some Tyner influence, but it's not him, I'd say, for the sound. Woody Shaw on trumpet? Very nice track! # 10: Some instruments from the Andes, quena, harp, a guitar, and that very familiar tenor sound: from this album or another from this series - a friend of mine has them all and could tell instantly. For my taste, he is nice to hear on one track on a disc like here, but I simply can't take a whole album - his sound and phrasing is too one-dimensional for me, as great as it is. # 11: I'm tempted to say the trumpeter is Benny Bailey, he has that cry in his sound. But I'm not sure wether he ever recorded within such a group concept. No idea about the others, but sure would like to know. # 12: Perhaps my favourite track on the disc. Very moody, with a - how's the rest of this album? No idea, but very curious about this one. These gospelish overtones, the guitar and soft rattles ..... very, very nice! # 13: Title track from this album. This must have been among the first twenty or so jazz LPs I ever bought, still have it, from the sales bin of a record shop at the bus stop on my way home after school. To these ears, the most moving tribute to the musician heralded here, and maybe the single greatest track of the leader. # 14: The name of that old tune escapes me right now ... Marc Ribot? It's his mixture of nostalgia and posed kaputtness - would convince me more without the simulated vintage recording sound. # 15: Just One of Those Things - singer has a definitive Tony Bennett influence, but he maybe not be a native speaker of English. Do not know any no-Hammond organist by the name of Kenny ... Who's this? He sure plays well. Very nice disc, very well programmed! Thanks! p.s. edited for a typo: rickefeller venter ..... the spirit of Freud still rules in Vienna!

Found a photo at http://www.apassion4jazz.net/page18.html

Jazz singer Thelma Carpenter began performing at an early age. In 1939, she joined Count Basie, where she produced her most memorable recordings. After leaving Basie she worked with Teddy Wilson's orchestra. She continued recording into the sixties and began an acting career in the seventies. Born January 15, 1922 Brooklyn, NY Died May 14, 1997 New York, NY Films: 1970s Barefoot in the Park (1970) (TV) The Devil's Daughter (1972) (TV) Call Her Mom (1972) (TV) The Wiz (1978) 1980s The Cotton Club (1984) New York Stories (1989) (Source)

Some details: Thelma Carpenter w. Count Basie: CO 33955-1 I Didn't Know About You - Columbia 36766 December 6, 1944 dtto. Call Me darling - AFRS BML P-574 January 11, 1945

Frankly, not as successful as the Les McCann / Eddie Harris pairing. McCann's ryhthm section, especially drummer Donald Dean, was too sluggish to match Rahsaan's relentless energy. I found it disppointing and sold it. Only for the Rahsaan completist. Someone asked for live records in an early post: His first Atlantic LP Here Comes The Whistleman was recorded live before an audience at some radio station, he has the audience blowing whistle all through the title track ... I like this one a lot, it has Jaki Byard and Lonnie Smith (not the organist) alternating at the piano. I bought all Kirk Atlantics on LP as they came out, and still have them all, which is telling.

I tried, but it seems it is OOP and one source that wanted to import from the US cancelled after a few months. I'd still like to hear it, if only for the drummer ...

I'd say, not everybody has to comment on every tune - noone here can say as much about every tune. Just comment on those that prick up your ears. And, as with the Albums of the week, it is possible to comment even months after the "official" running time of the test has ended.