mikeweil

Sounds plausible - Pauer used names like this for his pieces, I will look this up later. I find the personnel with Cleveland etc. very improbable for a 1968 European date.

The personnel reads similar to Farmer's first session as a leader for Prestige on July 2, 1953: Art Farmer tp Jimmy Cleveland tb Oscar Estelle as, bs Clifford Solomon ts Quincy Jones p, arr Monk Montgomery el-b Sonny Johnson d Work of Art 5:46 The little bandmaster 4:06 Mau Mau 5:15 Up in Quincy's Room 4:00 (only four titles recorded) ... or the next session for Prestige on June 7, 1954: Art Farmer tp Jimmy Cleveland tb Charlie Rouse ts Danny Bank bs Horace Silver p Percy Heath b Arthur Taylor d Wildwood 2:55 Evening in Paris 2:41 Elephant Walk 3:25 Tiajuana 4:52 That CD smells so much like a bootleg it's hard to endure ..... are there any composer credits? (Not that I tend to believe them)

This sad song has been sung many times. Any label that really believes they will make some money with a jazz record is naive. You can break even and make a small profit just sufficient for the next issue. Jazz sales aren't up to 2% of a CD sales, Norah Jones or not. Blue Note was a small indie on the verge of existence when it released all these records we now consider classics. Now it is a sublabel of a global company, which is a largely different thing. They will take a risk if they have money to spare, but they don't have right now. The big companies have cut down their jazz artist roster continuously over the last few years, in fact I am astounded they still have Osby or Moran. Blade and Shim, are they still signed? We'd rather look for the indie company and support them. Same with Verve, Columbia, Warner/Atlantic ... you can count the jazz artists they have under contract in less than a minute. Singer Carla White told me she had to work five years to get her excellent album, "The Sweetest Sounds", out, and then only on a Japanese label (DIW). She now sits on the tapes of her last self-produced album, and has the same hassle for two years. It's a shame.

This happened to me two years ago, when I ordered the Thad Jones and Sam Rivers sets along with some rare items from True Blue. Air Mail delivery, of course. I was charged an additional 50 or so EURO for customs, VAT and handling. It depends on the delivery method. Surface mail is handled by the postal services themselves, and they charge the appropriate customs and VAT without any charge for them handling the parcel. Airmail deliveries are handled by special companies chosen by German or whatever postal service, but they do not get paid by them and thus have to charge their own fees. I chose surface mail delivery ever since, it is still fast enough for me, no longer than 3 weeks, more often less than two weeks, and reliable, and a lot cheaper. At least we have the exchange rates on our side, the advantage of the EURO about pays for the shipping if you choose surface mail.

do you have originals or reproductions? I have a large format calendar of 12 pages that was printed in a limited edition of 500 copies, on high quality paper etc. I have four of them framed: Bird, Monk, Lady Day and Zappa. If anyone wants the Cecil Taylor from that series I'd be willing to trade.

With the congas Poncho plays, no wonder. Those REMO fiber congas with the Nuskyn heads, as nice as they are, never will produce a sound like Mongo's. I have a 25-year old Gon Bops conga set with very thick heads that will produce such a sound when properly played. You need Mongo's power, that's for sure. But you also need a wooden drum (mahagony) with a thick cowhide, not the thin water buffalo skins most manufacturers furnish their congas with nowadays. In the beginning of his career Poncho played Valje congas, made from Californian Oak, or Gon Bops oak congas, which sound closer to that, but still very different. Good congueros have individual sounds just like good saxophonists. For Mongo's live sound 1962, check out:

The master: ... and his work:

It's a dance painting (Dancing Baden-Baden 1923), but I wanted some Max Beckmann here. You guess what the music they danced to sounded like in the roaring twenties!

May I ask why you find it disappointing? I enjoy Pony very much!

And wasn't he briefly in the Kenny Clarke - Francy Boland Big Band, with equally great results? for Lockjaw!

Thanks for posting, we already started discussing this here.

From the site couw linked above, by drummer George Wettling!

Joos is great! I have several of his drawings based on photos on the wall. Plays good trumpet, too.

We've had sexiest and silliest album covers etc., but when I came across this one I got the idea of posting fine art with a jazz topic (please specify artist's name and title). Mood Indigo by Nick Cudworth Pastel on Paper 16 in. high x 12 in. wide Source

What's a friend? Someone who sends you a burn of an OOP Mosiac set you're dying for ...

If you don't open them, please have Mosaic ship them to me! Seriously: Are you crazy!? Blasphemy!

John, you're Kidding! You can imagine Benny Carter flaw a track?!

My suggestion: Stay clear of that site, if you don't want to go broke! Otherwise ....

When I saw the quartet with Lightsey, Reid and Galdden Reid had a full upright bass with a pickup. No microphone. Sound was okay on the gig; I never heard the Keystone CDs, but will go for the Mosaic Select.

Me too!!! This is my favourite Dex after his homecoming.

Any other Benny Carter on soprano out? Maybe on Pablo?

Bruxnickx list four more titles not included on the VeeJay/Blue Moon CD, which was its first issue, BTW. Wonder why they didn't include them, maybe the tapes are missing? Due to this it's pretty short.

Yes I do! So what? B) He was a heavy influence on Cannonball, that's for sure, more than Parker, in some respects.

Claude, are you workin' on a Babs Gonzales Discography? I have your Wardell Gray and Hank Mobley discos and would be lost without them - sometimes at least .

1) Ozzie Cadena produced all three of these sessions, the term supervisor means a similar occupation, but practically it was the same function. 2) see 1) 3) all three sessions were recorded by Rudy Vam Gelder at his Englewood Cliffs studio. The titles from Poindexter's Gumbo LP were all composed by him. The vocal tracks are the four previously unissued items from the January 31, 1963 session that produced the LP "Pony Poindexter Plays The Big Ones", a nice album (all instrumental) that has not yet been reissued in the U.S. but is available on a CD by the British BeatGoesPublic label, coupled with GumbO.