mikeweil

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.

This was one of the few Blue Notes CDs I bought as a Japanese edition (it says: Digital transfers by Yoshio Ozaki), as no US CD was available - I think Jazzbo is correct, and they issued the US CD with that transfer within a year. What I always liked about was the start with a medium tempo tune (the classic Strollin') and not one of those fast-paced ones - starting an album with a fast tune always gives me the feeling of having tu jump on a train at full speed. It is very interesting that Silver re-recorded two tunes from his early 10" Blue Note trio LPs on that one, Yeah, and the title track, Horace-Scope. And he finally got Nica's Dream on a record under his leadership, after the jazz Messengers Columbia LP (April 5, 1956), and the version on a Kenny Burrell Blue Note session (February 10, 1957 with Mobley, Silver, Watkins and Hayes) that remained unissued - that tune must have been very dear to him. The first looking back at his career? That was a classic band, of course, and one of the greatest hard bop frontlines, Blue Mitchell and Junior Cook - the latter shows his Mobley influences here a little, listento his solo on Where You At?. Why Alfred Lion didn't give Junior Cook an LP of his own remains a mystery to me. Or did he think he had enough tough tenors? Joe Henderson and Stanley Turrentine were still in the future, Mobley was only temporarily active at the time, so why not?

If you still buy vinyl, try the mono Blue Note LPs from Classic Records, which are said to be excellent and worth the high price.

Standard audio CDs can hold up to 80 minutes of music - so if the LP's playing time is under 40 minutes, both the stereo and mono mixes could be included. Would make for an interesting comparison, as both mixes often were different. I know that the rock group Buffalo Springfield mixed their first LP by themselves in mono and "poured their heart into those mixes", they simply didn't know about stereo back then, and were disappointed when a stereo mix was done without their consent or participation, the sound of which they didn't like. The Buffalo Springfield box set includes both mixes. The one mono LP that I regret having sold is the Modern Jazz Quartet's European Concert, which sounded fuller in mono, if my memory serves me right - I still have the same turntable. And I remember cases where different takes were included on mono and stereo releases, mostly due to malfunctions of early stereo tape machines, but the mono takes were the preferred ones. The MJQ's first Atlantic LP Fontessa had several takes different from the stereo version reissued on CD. It may be a similar technical problem as with early CDs: It takes a few years before a new technology is fully developped - before they had mixing consoles allowing central placement of instruments in the stereo spread, early left/right mixes often sound awful, and Rudy Van Gelder has corrected some of these mixes when he prepared the RVG CDs, e.g Mobley's Soul Station. Changing to stereo also started that whole crap of multi-track recording, which causes more problems than it solves, IMO, as far as recording is concerned. For a mono recording with a single microphone, a group had to have some sort of natural balance. Today you find this only with audiophile recordings using only two microphones, only then you have stereo with a correct room ambience and no phasing problems.

My thoughts exactly!

Cindy Blackman was (still is?) with Lenny Kravitz' band for some years. Doesn't sound quite like what I've heard her do, but you never know.

I have all of this quintet's CDs and it#s not on them. And this definitely not Tony's drum sound, which was a lot heavier during his last decade.

I doubt the original tapes will be found, as Richard Bock edited them and not a copy, and the snippets are lost forever. The only chance to hear the complete versions would be, as I posted above, a first issue LP in good condition. They probably couldn't find one, as Cuscuna is not afraid to use one when it's the only source for tracks otherwise unavailable. Anyone here having a first edition copy with "This Is Always" and the longer versions should contact Cuscuna immediately!

The cause is that designers make covers following visual criteria in the first place, and if it looks better the other way round, it's done with a mouseclick. You'll find plenty of pictures by media stars used both ways. Just type a famous name into image search at some search engine and take a close look. With a label like Mosaic, of course, where music takes priority, this shouldn't happen.