mikeweil

This time you scored! What disappointed me a little about that album is that it is so damn close to the Larry Young stuff, too close - now Jim Sangrey, is this a Larry Young clone? I wish they'd try and go a little beyond Young's achievements, who was a lot more progressive at times, especially on his later work outside of funk experiments.

Okay, here are my thoughts on Disc One, before reading any other comments. This is a very well conceived disc, great sequencing, extremely enjoyable from start to finish! Thanks, Jim! # 1: Very nice! That bass clarinet riff had me dancing around the room. I have no idea who this is, but the instrumentation is great - trumpet, trombone, clarinet, bass clarinet, electric bass and drums - and even the electric bass works fine for me here. It's nice the drummer uses brushes for most of the piece, which gives it a bouncy dancing feel although he plays so funky. # 2: A masterful seamless transition. Contrary to track 1, the bass sound here annoys me, I took it for an electric first, but it's one of those dreaded pickups. Don't like the drum sound either, all heads are muffled. But the interaction between the alto sax and piano ist great. Again, no idea. # 3: This sounds like a lost track from Larry Young's Blue Note sessions ... well, I won't step into that trap: I bought this on B3-er's recommendation. Sure a nice record. More later. # 4: I would say these are Brazilian musicians, at least part of them. Nice, but much too short, I would like to hear a few solos, especially some scatting from the singer, to find out what she really can do. This leaves me dissatisfied. # 5: Very nice cut, I like that crazy Balkan brass band feel a lot! This is something I would like to hear more from. The low horns are great. Would be even better if they had used a tuba for the bass line. # 6: This leaves me with mixed feelings: I like the 7/8 part, but find the alternating with straight 4/4 a little too common, although they do the transition extremely well. Harmonically this is an example for the stuff that almost drove me away from jazz, as everybody was writing such things for many years. The soprano player sounds familiar, but I'll have to give it some more listening first before I risk a guess. # 7: This is brother Joseph the Kind One, one of the greatest blues players in the world of jazz, from a peppy live recording .... # 8: This could be Bobby Watson and Victor Lewis, has a rhythmic groove and spirit like these two have, but I don't know the record. # 9: This seems to be my favourite doorbellist of all times, with the pianist he collaborated with in the 1960's before he joined a famous blowtube player. # 10: No idea, but a very nice groove and spirit. # 11: The tune is "Nature Boy", but I'm not sure about the singer. Very good original arrangement. I have to contemplate about this some more. # 12: The big band of one famous Trane collaborator. Sounds much better than I remembered that band, very good but the energy of it drives me nuts in higher doses. Very good compilation, I have to say it again! Thanks a lot! More on the bonus disc later.

1) At the end of the Afro-Bossa album, on disc two, there are two unreleased tracks titled "Resume # 1 and # 2, which feature thematic snippets from all individual titles. After reading Mark Tucker's description, I think the order of the two tracks must be reversed. 2) I have the Spiegel edition, which has a very good German translation of Mark Tucker's commentary by Markus Mellentin, but when describing Take the A Train from the Jazz Violin Session he calls the bassist Andy (sic!) Shepard, when it should be Ernie. Is the same error in the English original?

Thanks, Jim, for that Beatles album, I edited my post accordingly. I have to admit I took it for a bootleg, with that label name! Bruyninckx has it, of course, it was recorded December 15, 1969. I'm afraid I will like the Beatles originals a little more than the Basie treatments ...

A cover for this famous soundtrack I hadn't seen before:

A beautiful record, Hibbler projects a rare warmth, with nice Gerald Wilson arrangements. Billy Strayhorn was to be contracted by Frank Sinatra's Reprise label to do the arrangements, but Duke is reported to have protested: You got my singer, and now you want my arranger!

If you buy directly from them with a credit card, they're cheap! EUR 8,99!!! Shipping costs are reasonable, and delivery is fast. When I place an order with them I'll let you know. Shops here sell them for double their price, which is better than in Switzerland, but still pretty high.

I believe you, Jim, but Bruyninckx seemingly does not have it - if you post or PM details (Title, Label and number, month and year of recording) I will edit in!

I really can't make up my mind about this. I had single CDs of the Tristano Capitol sessions with the Warne Marsh as a bonus, and the early Prestige sessions, and it didn't do very much after repeated listening. Tristano's abstractions get on my nerves after a while, and though I really do like Marsh, that particular date didn't get to me; same goes for Konitz' Verve trio sessions - considering all this I think I'll rather go for the Mobley.

Who designed this epitome of good taste, BTW? This is completely atypical for a 1962 Blue Note cover, but it has the issue number 84310, making it a vault issue from the 1970's - I couldn't find any other cover, the blueish ones all were for albums released soon after recording. Considering most of Green's piano quartet session stayed in the can for several years ...

That review is nonsense!!! has anybody on the board really heard that record? It was very popular in Germany for a while when SWR Radio used the opening of the first track as theme song for their jazz broadcasts - still during Berendt's direction. It was a hard to get LP, I found a used copy after many years of hunting. Jeremy Steig does some good playing, so does Mainieri, who is not obscure after all but turned more to producing crossover albums. The vocals are okay, the whole album is nice and would stand well in a box set of all of Jeremy Steig's Blue Note, Groove Merchant, and Solid State albums, if we will ever see one ...

The trio had late in his career had a very loose approach, good interaction with the underrated drummer, Donald Bailey, who was left much more room for invention here than with Jimmy Smith. Bird Song is a great trio album, considering it was an impromptu session on occasion of a Chambers stay in California, swings like mad. I have to say I like all the ones I have ... The Duets with Haden are very special.

Perhaps they found the original multi-track tapes and had the idea of editing out Johnny Hartman's track and let Norah Jones overdub ...

My congrats! Those Dyes really do deliver!!!

In the long run, I am somewhat disappointed of his career. After a great start, playing with great leaders - Mongo Santamaria, Herbie Mann, Willie Bobo, Blue Mitchell, Miles Davis, Stan Getz - and very good leader dates including that outrageous opus IS and the cooperative unit Circle - he didn't exactly go commercial, but I miss that adventurous element. The first Return to Forever album was nice, but the second was a little bland, and the electric band was too bombastic - I once saw them live on a festival where the Mahavishnu Orchestra also played, and the differences were telling. He can play, but seems to take few chances, and his most interesting compositions were written before 1974. That successful adaptation of the Spanish idiom may be his most important contribution. When I saw the duo with Herbie Hancock live on TV, I found him too predictable and too much after catching the audience. I find Herbie Hancock to be taking more chances, and a much more interesting soloist on an average, despite both commercial for parts of their career. There must have been a considerable change in Corea's mindeset: Anybody here remember the original foldout LP cover of Noe he sings, now he sobs? There were some pretty deep references to East Asian philosophy and religion. Doesn't he want to read about this anymore since he has joined Scientology? I am aware his membership in this organization is much more of an issue here in Germany where there were frequent accusations for using brainwashing techniques and sect characteristics of Scientology, leading to attempts to boycott some Corea concerts here. I can't help but think that the ideology of that grouping has played a part in his success story. At least his membership is not sympathetic to me.

Congratulations to you and your wife! You have a name for him yet? No wonder you're looking a little exhausted on your avatar

Just sent him an e-mail. Next on the list are Daniel A and rockefeller center - any of these ready to go, in case ...?

As far as I can see the Ocium releases cover only the master takes, but of course there might be exceptions, and they bring together rare material from obscure labels that has not been on CD so far. I have the Paul Qunichette and Bennie Green CDs and I am satisfied with them, I will get some more. I do not know about their plans, but their catalog is expanding fast. Their website has even more discographical details: COUNT BASIE Basie Talks Ocium OCM CD 0028 Price: 8,99 ? · TRACK LIST 1- NEW BASIE BLUES (3:25) 2- SURE THING (3:03) 3- WHY NOT? (3:31) 4- FANCY MEETING YOU (3:03) 5- JIVE AT FIVE (3:10) 6- NO NAME (3:08) 7- REDHEAD (2:51) 8- EVERY TUB (2:52) 9- JACK AND JILL (2:56) 10- BREAD (2:56) 11- THERE'S A SMALL HOTEL (3:34) 12- HOB NAIL BOOGIE (2:35) 13- BASIE TALKS (3:39) 14- PARADISE SQUAT (Take 2) (4:05) 15- PARADISE SQUAT (Take 4) (3:40) 16- U.F.O. (3:05) 17- LIKE A SHIP AT SEA (3:38) 18- BUNNY (3:09) 19- TIPPIN' ON THE Q.T. (3:02) 20- BLEE BLOP BLUES (3:02) 21- CASH BOX (3:25) 22- BOOTSIE (3:23) 23- TOM WHALEY (2:53) Total time: (74:05) PERSONNEL AND RECORDING DATES COUNT BASIE & HIS ORCHESTRA Paul Campbell, Wendell Culley, Joe Newman, Charlie Shavers (tp); Henry Coker, Jimmy Wilkins, Benny Powell (tb); Marshall Royal (as, cl); Ernie Wilkins (as/ts); Paul Quinichette, Floyd 'Candy' Johnson (ts); Charlie Fowlkes (bs); Count Basie (p); Freddie Green (g); Jimmy Lewis (B); Gus Johnson (d). Nat Pierce, Neal Hefti, (arr.) New York, January 19, 1952 1. NEW BASIE BLUES (Basie) Merc/Clef mx 665 (3:25) 2. SURE THING (Hefti) Merc/Clef mxx 666 (3:03) 3. WHY NOT? (Hefti) Merc/Clef mx 667 (3:31) 4. FANCY MEETING YOU (Hefti)(*) Merc/Clef mx 668 (3:03) (*) (Also known as Fawncy Meeting You) COUNT BASIE & HIS ORCHESTRA Paul Campbell, Wendell Culley, Joe Newman, Charlie Shavers (tp); Henry Coker (tb); Paul Quinichette (ts); Count Basie (p); Freddie Green (g); Jimmy Lewis (B); Gus Johnson (d). New York, January 25, 1952 5. JIVE AT FIVE (Basie-Edison) Merc/Clef mx 688 (3:10) Add to the previous personnel: Benny Powell, Jimmy Wilkins (tb); Marshall Royal (as, cl), Ernie Wilkins (as, ts); Floyd 'Candy' Johnson (ts); Charlie Fowlkes (bs). Neal Hefti, Sy Oliver (arr.) 6. NO NAME (Oliver) Clef mx 689 (3:08) 7. REDHEAD (Oliver) Clef mx 690 (2:51) 8. EVERY TUB (Basie-Durham) Clef mx 691 (2:52) COUNT BASIE & HIS ORCHESTRA Paul Campbell, Wendell Culley, Joe Newman, Reunald Jones (tp); Henry Coker, Benny Powell, Jimmy Wilkins (tb); Marshall Royal (cl, as); Ernie Wilkins (as,ts); Eddie 'Lockjaw' Davis, Paul Quinichette (ts); Charlie Fowlkes (bs); Count Basie (p, org); Freddie Green (g); Jimmy Lewis (B); Gus Johnson (d); Bixie Crawford (vcl on 17). Don Redman, Ernie Wilkins, Buster Harding, Buck Clayton, A.K. Salim, Andy Gibson (arr.) New York, July 22 & 23, 1952 9. JACK AND JILL (Redman-Basie) Clef mx 822 (2:56) 10. BREAD (Wilkins) Clef mx 823 (2:56) 11. THERE'S A SMALL HOTEL (Rodgers-Hart) Clef mx 824 (3:34) 12. HOB NAIL BOOGIE (Harding-Basie) Clef mx 825 (2:35) 13. BASIE TALKS (Wilkins) Clef mx 826 (3:39) 14. PARADISE SQUAT (Take 2) (Harding-Basie) Clef mx 827-2 (4:05) 15. PARADISE SQUAT (Take 4) (Harding-Basie) Clef mx 827-4 (3:40) 16. U.F.O. (Harding?) Clef mx 828 (?) (3:05) 17. LIKE A SHIP AT SEA (Welcher) Clef mx 828 (3:38) 18. BUNNY (Andy Gibson) Clef mx 829 (3:09) 19. TIPPIN' ON THE Q.T. (Clayton) Clef mx 830 (3:02) 20. BLEE BLOP BLUES (Salim-Basie) Clef mx 831 (3:02) 21. CASH BOX (Gibson-McRae) Clef mx 832 (3:25) 22. BOOTSIE (Wilkins) Clef mx 833 (3:23) 23. TOM WHALEY (Clayton) Clef mx 834 (2:53) COUNT BASIE Be My Guest Ocium OCM CD 0037 Price: 8,99 ? · TRACK LIST 1- BLUES FOR THE COUNT & OSCAR (3:07) 2- BE MY GUEST (3:04) 3- YOU'RE NOT THE KIND (3:20) 4- EXTENDED BLUES (5:59) 5- LET ME DREAM (2:41) 6- SENT FOR YOU YESTERDAY (3:15) 7- GOIN' TO CHICAGO (3:22) 8- I WANT A LITTLE GIRL (2:57) 9- LADY BE GOOD (2:26) 10- SONG OF THE ISLANDS (2:53) 11- BASIE BEAT (3:23) 12- SHE'S FUNNY THAT WAY (4:14) 13- COUNT'S ORGAN BLUES (3:12) 14- K.C. ORGAN BLUES (2:56) 15- BLUE & SENTIMENTAL (3:05) 16- STAN SHORTHAIR (2:57) 17- AS LONG AS I LIVE (3:12) 18- ROYAL GARDEN BLUES (3:02) Total time: (59:06) PERSONNEL AND RECORDING DATES Count Basie and His Orchestra Eddie 'Lockjaw' Davis, Paul Quinichette (ts); Oscar Peterson (p); Count Basie (org); Freddie Green (g); Ray Brown (B); Gus Johnson (d). New York, July 26, 1952 1. BLUES FOR THE COUNT & OSCAR Clef mx 835 (3:07) (Peterson-Basie) Wendell Culley, Paul Campbell, Reunald Jones, Joe Newman (tp); Henry Coker, Benny Powell, Jimmy Wilkins (tb); Marshall Royal (cl,as); Ernie Wilkins (as,ts); Eddie 'Lockjaw' Davis, Paul Quinichette (ts); Charlie Fowlkes (bs); Oscar Peterson (p); Freedie Green (g); Ray Brown (B); Gus Johnson (d). Same date: 2. BE MY GUEST (Wilkins) Clef mx 836 (3:04) Count Basie (p) and Jimmy Lewis (B) replace Peterson and Ray Brown. Same date: 3. YOU'RE NOT THE KIND (Hudson-Mills) Clef mx 837 (3:20) Count Basie Quintet Oscar Peterson (p); Count Basie (org); Freddie Green (g); Ray Brown (B); Gus Johnson (d). Same date: 4. EXTENDED BLUES (Basie) Clef mx 838 (5:59) Count Basie and His Orchestra Wendell Culley, Paul Campbell, Reunald Jones, Joe Newman (tp); Henry Coker, Benny Powell, Jimmy Wilkins (tb); Marshall Royal (cl,as); Ernie Wilkins (as,ts); Eddie 'Lockjaw' Davis, Paul Quinichette (ts); Charlie Fowlkes (bs); Count Basie (p); Freddie Green (g); Gene Ramey (B); Gus Johnson; Al Hibbler (vcl). New York, December 12, 1952 5. LET ME DREAM (Brown-Edwards) Clef mx 964 (2:41) 6. SENT FOR YOU YESTERDAY (Basie-Rushing-Durham) Clef mx 965 (3:15) 7. GOIN' TO CHICAGO (Basie-Rushing) Clef mx 966 (3:22) Count Basie Nonet Reunald Jones (tp); Henry Coker (tb); Marshall Royal (cl); Paul Quinichette (ts); Charlie Fowlkes (bs); Count Basie (p); Freddie Green (g); Gene Ramey (B); Buddy Rich (d). Same date: 8. I WANT A LITTLE GIRL (Mencher-Moll) Mer/Clef mx 967 (2:57) Count Basie Sextet Joe Newman (tp); Paul Quinichette (ts); Count Basie (p); Freddie Green (g); Gene Ramey (B); Buddy Rich (d). Same date: 9. LADY BE GOOD (G.& I. Gershwin) Mer/Clef mx 968 (2:26) Count Basie Quintet Paul Quinichette (ts); Count Basie (org); Freddie Green (g); Gene Ramey (B); Buddy Rich (d). Same date: 10. SONG OF THE ISLANDS (King) Mer/Clef mx 969 (2:53) Count Basie Sextet Joe Newman (tp); Paul Quinichette (ts); Count Basie (p,org); Freddie Green (g); Gene Ramey (B); Buddy Rich (d). New York, December 13, 1952 11. BASIE BEAT (Basie) Clef mx 977 (3:23) 12. SHE IS FUNNY THAT WAY (Whiting-Moret) Clef mx 978 (4:14) 13. COUNT'S ORGAN BLUES (Basie) Clef mx 979 (3:12) 14. K.C. ORGAN BLUES (Basie) Clef mx 980 (2:56) 15. BLUE & SENTIMENTAL (Basie-Livingston) Clef mx 981 3:05) 16. STAN SHORTHAIR (Basie) Clef mx 982 (2:57) 17. AS LONG AS I LIVE (Arlen/Koehler) Clefmx 983 (3:12) 18. ROYAL GARDEN BLUES (Williams) Clef mx 984 (3:02) Ocium Website

If I had some crappy random play function like some of you described, I probably wouldn't use it either. Mine produces an entirely different sequence every time I hit the button, even when I leave the CD in the player. I'm with Morganized as far as CDs with lots of alternate takes are concerned.

Just pulled mine out of the mailbox. Disc one had me dancin' around the room from the first riff!

Check here! The name was misspelled in the topic title ...

There is a version recorded by a Lionel Hampton group that only in part fits above description. New York City, August 1956 Ray Copeland tp Jimmy Cleveland tb Lucky Thompson ts Lionel Hampton vib Oscar Dennard p Oscar Pettiford b Gus Johnson d unknown vocal group (to me they sound like The Gordons) recorded for Jazztone, this particular track is currently available on an Oscar Pettiford compilation "First Bass" on IAJRC CD 1010. It starts with Lionel and rhythm, heard through an old radio the vibes sound is very close to piano. The vocal sings the theme, there is a vibes chorus, then the chorus takes it out. The horns lay out on this one. Considering there are hundreds of airchecks of the Duke ..... lyrics: C'mon, hurry take the A train that's the quickest way you'll get to Harlem get this train 'cause it's no freight train hurry don't be late it might be C'mon, hurry take the A train that's the quickest way you'll get to Harlem

.... I thought you knew what rules are for? Ask deus!

I was just wondering if any fellow boarders here use the random play function of their CD player as often as I do. I like to listen in different playing order, as it sheds a new light on the music. Listening in the same order renders that feeling of familiarity, but develops habits that sometimes get in the way of unpretentious listening - at least this is what I experienced. I also use the programming function to listen in recording order, or eliminate pieces or pick others ... Well, what's your listening method? Always straight from the disc?

That is the main point for me: It has to be challenging. Which makes it a problem when my wife wants to dance with me because I only feel an urge to move when the music is rhythmically challenging, I am not inspired by 4 hits on the bass drum on every beat of the bar ... When I grew up, my father was out of the house working all day, and never listened to music in his spare time, although he told he had been playing cornet in a brass band in his youth (born 1907). My mother (b. 1919) had all Schubert and Beethoven symphonies on LP and loved to play them on Sunday afternoons at coffee time, she had mostly classical music on the radio and got into arguments with my brother (b. 1941) who switched to AFN to listen to Elvis Presley ... This was the very early 1960's (I was born in 1954, the very day Art Blakey recorded his live Blue Note LP at Birdland with Clifford Brown, so that may have set the destination) and I discovered music only to make an impression on my schoolmates, as I learned English pretty fast and was able to understand and write down the names of bands and titles from the radio and bring the latest hit parade listings to school. I listened to the Beatles, but somehow "black music" attracted me more, the rhythms caught my ear. My first LP was by Paul Revere & The Raiders - an unlikely choice for a young German ca. 1968, followed by Cream's Disraeli Gears and the first Pink Floyd LP with that free impro piece, Interstellar Overdrive, which fascinated me. My parents thought that music was crazy, driving me all the more to it. (When I had bought that my alternate choice was a Frank Zappa LP, so I wonder what would have happened, had I changed my mind and bought the Zappa?) At the same time I "inherited" a bunch of singles and EP's from my brother and his wife, who had just married - she had been working in a record shop for a while and brought some things, among them a Dixieland EP, two Parisian Lionel Hampton Trio tracks, and - most importantly - a Metronome EP with the first four Prestige titles by the Modern Jazz Quartet. I listened to that for hours, found that contrapuntal playing so fascinating. Still I was haunted by the Buffalo Springfield, Stephen Stills pieces I still like very much, got into James Brown riffs, but what turned me off was the emotional overdrive of people like Jimi Hinedrix, Janis Joplin or Jim Morrison. Jazz was cooler - I was a shy guy and could not deal with the sexual overtones an all. Soon I discovered a cutout bin at the record shop behind the bus stop where I had to change busses, and bought Herbie Mann's Do The Bossa Nova, Cannonball's Bossa Nova, The MJQ European Concert - that's what got me started. For a while I had the ambition to acquire a representative jazz collection, but gave up on this many years later, due to lack of funds and space, and keep only records that I really dig or think to be really important. I was turned off by sloppy local jazz players for a while, and sytematically explored the history of European classical music with my partner at the time, along with the blossoming of period instruments performance, which I prefer to this day. I always had a friend or two to exchange records, listen together of conduct Blindfold Tests ... Today I listen to jazz as much as classical of all periods, latin music, ethnic music from around the planet ... But the improvisatory freedom of jazz, if it is balanced by an awreness for structure and composition, remains at the core of my musical heart.