mikeweil

If it's Warwick it's probably truncated takes from the Donald Byrd - Pepper Adamsa sessions with Herbie on that label, which have been bootlegged to exhaustion. Some issues didn't even include Herbie but edited material from Teddy Charles sessions with Bookers Ervin and Little from the same label.

You're right, the first two suites were the two sides of the LP "Latin Kaleidoscope". "Fellini 712" with its 32 minutes was an LP of its own.

The original covers were black and white - at least I never saw any others.

6/8 and 3/4 are NOT the same, because these are time signatures, not mathematical fractions! It's a common error, even most musicians forget that. You may not reduce 6/8 by 2 to get 3/4. In time signatures the upper figure tells you the number of notes to the bar, and the lower figure tells you what type of note these are. This does not imply identical numbers of beats per bar! 3/4 time is usually counted with three beats to the bar. 6/8 time used to be counted with two (!) beats to the bar, giving it (in modern terminology) a "triplet feel". The counterpart in time signatures divided by two to 6/8 was seen in 2/2 time, which is rarely used today. This all has its roots in European baroque music, where they started developping sytems of time signatures just as they developped harmonic systems. Johann Sebastian Bach used several dozen time signatures to differentiate very clearly between different rhythmic feelings, tempos and basic accents, it was written down by his student Kirnberger, but this was simplified to only few time signatures within 50 years after his death. When he wrote something in 12/8, it was not the same as a 4/4 in eighth note triplets, because triplets were always seen as an exception. Anyway, his system was much clearer, but most of this knowledge has been lost. The possibility of multiple division of a 6/8 or 12/8 meter is an African device, imported into Spanish music through Northern Africa. The so-called hemiola is a 12-12-12-123-123 subdivision. (to be read one-two etc.) You alternate 3 x 2 and 2 x 3. This is frequently used in Flamenco music. In 12/8 you can chose between 4 x 3, 3 x 4, 2 x 6, and 6 x 2 - most African rhythms use all these subdivisions equally and simultaneously, as do Afro-Cuban Bembé and Abakuá rhythms, among others. This multi-beat structure is what makes them so sophisticated for most non-Latin musicians. There is no clear and dominant beat structure, like the lack of a clear tonal centre in polytonality. Rhythmic theory in Western music theory is a MESS!!!!!

Is there a way to extract that audio only track with some software? Would make nicer listening without the long silent passages in between. It's not overwhelming music, but a nice Herbie Hancock piano ballad with Jim Hall heard nowhere else and some groovy alternates.

... where the lack of taste and the lust for the ordinary meet ...

I doubt that. It was not released by Amiga the GDR label AFAIK. This site has a complete listing of Amiga Jazz releases and We Insist is on it. John, is this a typo and should read " .... is not on it"??? Jim, what is the number of your issue of the Roach suite?

One thing that is always overlooked about this edition of the Silver Quintet - at least it seems so to me - is the rhythm team. Gene Taylor with his thick percussive and at the same time warm sound and Roy Brooks at the drums were an excellent team with a very personal definition of swing and drive. Tasteful and hittin' the groove always. Maybe the best bass/drums team Silver has ever had, overlooking his career. Let's give them some credit!!!

Elvin is a masterful brush player, with a very special momentun and swing. Seems I'll have to get me this one ... love Hank's playing, of course, and Thad's compositions. Besides his big band charts, Thad still seems to be underrated as a trumpeter and composer.

Naw, there are LPs on the lowest shelf, and the width is larger. Looks more like a converted bookshelf. He'd have to drill holes and rebuild and buy some extra shelves ....

Nobody interested? Can't believe it! A whole LP worth of unknown Herbie Hancock Blow Up soundtrack takes and nobody takes notice?!?! Anybody here heard this audio only track?

I have that LP, but not the facilities to burn an LP. I plan to change this later this year and will think of you, if nobody else is faster.

Howdya like the drummer on this one? Hartwig Bartz is one of the legends of German jazz drumming, one of the few, along with Joe Nay and Klaus Weiss, to have some "American" feeling.

Received a copy today - got it on ebay at a reasonable price. Visual quality is great, extra features are the two trailers and the audio only track - and this one bears a major sensation: The audio only track features other, never before heard takes not on the soundtrack CD!!!! Listen closely, and you'll see what I mean. Longer versions, extended solos, they are placed at the same points as the known takes. This is great! At last this music is available. Only flaw is that you cannot access these tracks directly, only the scenes, and the music starts earlier in most cases. This is one of my all time favourite directors and movies, and now this find!!!

As always: The bad ones are terrible, the good ones are beautiful. I have only the good ones ..... if the strings are not too syrupy, but tatsteful, it's great. Hasn't there been a thread on favourite jazz with strings CDs?

Yeah, Little Brother, Middle Brother and Big Brother Montgomery ...

Happy Birthday, for sure, but I have to admit he never quite got to me. He has some pet licks that sound to me like they come more from the fingers than from the mind that I really dislike, and I missed some groove and a certain lyricism - but that's a matter of taste, of course. He played in Billy Cobham's American fusion band in the 1970's, too. I like him best on Joe Henderson's Black Narcissus album.

Those sampler discs were great as they featured tracks and takes not released elsewhere, but they were very limited, and usually sold out before they really hit the shops - real collector's items! I never managed to get one of them.

All Smiles was recorded May 13-14, 1968 More Smiles was recorded May 28, 1969 Fellini 712 was recorded December 2-3, 1968 all at EMI Lindström Studios, Cologne, by Wolfgnag Hirschmann. The latter was available on CD on the 1995 Verve / Motor Music CD "Three Latin Adventures", MPS CD 529 095-2. The same old game, that CD contained three (!) LPs (Latin Caleidoscope and Cuban Fever were the other two), and the Smiles sessions would both have fit on one CD - but now we have to buy them one for one for more money, in the end ... ... and John, for any discographical CBBB question, you can have a look at this website - be warned, the layout sucks.

The latest volume of Universal Germany's newspaper, Jazz Echo, announces six new MPS reissues: Kenny Clarke - Francy Boland Big Band: All Smiles dtto: More Smiles dtto: Fellini 712 Nelson Riddle & his Orchestra: Changing Colors dtto: Communictaions Horst jankowsky Group: Jankowskeynotes For all who don't yet have the CBBB's, this is the moment!

I'd say try it if possible, and if you like it, go for it and trade in or sell the lesser of your two other horns.

Very eloquent and dedicated essay, I can follow him, but this shamanistic strain is what drives me away from this music.

Forgot to post my thoughts on the bonus disc. # 1 - sounds somewhat familiar in style, but I can't put my finger on it. I scribbled some witty comment on a piece while listening but can't decipher it any more # 2 - the title track from this album. I bought both volumes when they were released, and initially preferred the take on Vol. 1, as the drummer plays some great thematic variations on that Cuban conga de comparsa rhythm pattern that is also the foundation of the bass line, but listening to it out of context reveals this take also has its merits. #3 That incessant beat at the beginning drives me mad - why do they do this? Is this the AEOC? I have to admit I grew tired of listening to that kind of music, at least on record, but I still enjoy it live, when it's well done. More fun to play and watch live than on a record. # 4 No idea. Nice balance of free playing and written passages, which could have been played more tightly for full impact. These are the kind of tracks that a bonus disc is the ideal place for - many thanks!

C'mon Jim, we all wanna know how good y'are at this one! for dealing with the tings you have to deal with!

How many have been guessed right so far? 1 3 4 7 9 11 12 I'm still thinking about # 6, that Branford Marsalis / Tain guess is not so bad, drummer could be Tain.