mikeweil

I have updated the Master List: Man with the Golden Arm is now at # 7. Jim Dye, do you want to take position # 8 to keep Daniel at # 9? I would edit the list as soon as you let me know.

Germany's Jazz Podium magazine has a well-written obituary in the February 2004 issue, suggesting that he died lonely and rather withdrawn from most people. His last recording from 1991 at the occasion of his 70th birthday is his legacy, I can recommend it:

I was positively surprised by these. What would have been the pianist of your choice, folks?

The one I enjoy the most is a little older: Geoff Keezer's "Here And Now" from 1990. Among the never ones: Steve Masokowski (2) Brian Blade (2) Jason Moran (all)

Not one of Eddie Harris' strongest albums, but sure representative of what he was doing live in clubs during his last decade. I caught him with a set like this in Frankfurt's legendary Jazzkeller, where had jammed with local musicians in his Army days. It was there, all of it: cool tenor, hot tenor, stunning unaccompanied improvisations with his custom made electronic cabinet, funky rhythms, bluesy piano, funny vocals, Amazing scatting ... a versatile jazz entertainer in the best sense of the word, close to his audience, with a lot of substance beneath it all. Eddie had SOUL!!! Lots of it! A true original. There was an interview in Jazz Podium magazine shortly after telling about his dedication to the music, his frustrations, political awarenes, and never ending journey through music (reprinted in Christain Broecking's "Der Marsalis-Faktor", for the German reading board members). Some quotes (re-translated!): "Often young musicians approach me, like Joshua Redman, and ask for advice, and they know I am not in a position of envy. I had a million seller when I was their age. Back then I had bodyguards and drew a lot more people than the jazz youngsters of today. I was a pop star. So you cannot tell me anything. But all the people back then sayinf I was better than Sonny Stitt, Stan Getz or Sonny Rollins obviously were nuts. Sure, I came up at a time when these cats were all still around. But the point is that back then I had no idea whatsoever about the business and performing. I play much better today than at the time when I started and was an overnight success. In other words: In the US you start at the top and then make your way down - instead of the other way 'round, which would make much more sense. That's the way the business goes. And as you can see today - that hasn't changed. Look at Wynton Marsalis, Joshua Redman and whatever their names are. And then you take a look to the side - and you discover Tony Williams. When he sat in with Miles as a youngster, he was the nation's upstart. Today he plays better than ever, but hardly anyone notices. That doesn't make any sense to me." Back to the music: There's a bit of everything, and there may be better samples of all these styles in his discography, but here you get it all, and if you ever caught him live, you know it's the real thing. But it didn't appear as disjointed as on this record, the programming could be better. For Eddie in his masterful cool mainstream prime, consider "There was a Time" on ENJA. For all the other stuff, any of his sxities Atlantic stuff, maybe the leftover collection "Excursions" (available on a Collectables CD) for starters.

that was a great track. I will keep my eyes open for this album. You will not be disappointed! One of the most original albums in his discography, unique instrumentation, and this cat wrote some of the sexiest ballads of all time!

After recovering, let me say that I had a Japanese LP of this which I sold when the first CD was released, which I missed, hunted down on ebay after several years only to read that an RVG was coming up a few months later ... I guess my concentration was gone when this last track on the LP was heard - contary to you, John, I now can appreciate it much more than on the LP where I hardly noticed its qualities! More about the doorbellists in the answers thread!

Definitely not from that one! wanna bet? I better not! Again, at least I do not have to buy this one ... My personal rule # 2 for the BT's: There's always a track from an LP/CD I have but do not recognize .... always!!!

Agreed. The voice sounded familiar and unique, just couldn't remember the name. I think the recording quality of this is barely acceptable, and it's too much of a jam session to be really fulfilling. Guitar is too loud, sax too much in the background and playing all through the track with little regard to what's happening around him. I expect some extraordinary music from a live recording in doubtful sound, and that's not like it. At least I don't have to buy this.

Okay, I did as requested; I think the next two or three day will show who's up next. I'll wait for Man with the Golden Arm's reaction. No reason to be sorry, shit happens ...

Great! I couldn't make up my mind to buy all the single Dizzy Reece CDs - now I can get them all in one stroke!

I always thought that "dialogue" Daniel describes was part of the game! I post only with links when I exactly know a track, but comparing guesses is part of the fun after I have posted my own, and deus is right with his thoughts about us probably having some items in all of our collections, and there is nothing to be ashamed of if we are thinking alike. I too thought of a movie soundtrack when hearing # 1 without knowing that track! And the likes and dislikes are just as important to me as the guesses are. We are all winners in these BT's no matter how many correct hits we achieve!

That's what I thought when I had the surprising experience of being unable to scare my wife out of the living room with putting on Ascencion or Ornette's Free Jazz yesterday! Honestly, some of it is common language, musically, now, and the ground Trane has broken for the music is freely accessible ground now. He was one of the first musicians of whose records I tried to build a complete collection - I have been listening to all of this at one time or another, except for the Cosmic Music LP, of which I still await a reissue. I think it will not make much of a difference if you listen to it chronologically or randomly, but chronological listening will make his personal quest clearer - there is quite a leap in my opinion after Tyner and Elvin Jones left. Stellar Regions holds a special place in my heart, very concentrated and a hint at things to come which we never will hear. Transition (the track, not the album) is very special to me since the dialogue with himself Coltrane performs in his long solo was a mirror of my state of mind and soul at the time, and helped me to get over. Talk about healing music! And Kulu Se Mama! Juno Lewis is one of the most moving singers I ever heard, and the way Trane and Sanders wave around his voice and the way he integrates his drum into the ensemble .....

Some very fitting remarks, Tom! In addition to what you said I noticed I take my time much more now - gave the first disc four spins before I wrote down my thoughts, and haven't even listened to the second! (Didn't peek at the guesses either, I swear! )

I was thinking about these two singers too, but there wasn't enough characteristic of the second for me to guess her - as the soprano always lays out when she is heard I thought it might be a high pitched male singer doubling on soprano! You never know!

Definitely not from that one!

Ubu, it's not from the Woody Shaw Mosaic, I have checked that one. (didn't read your guesses for disct two )

First of all, I want to thank Randy for his great discs, and I feel the urge to express my gratefulness: It is fantastic that you can get discs with great music from like-minded people that live so far away, that you don't know personally, giving you endless inspiration and joy. This blindfold project is a labor of love and trust by all involved, and I feel privileged to be a part of it, I cannot find appropriate words to express my feelings about this. Or perhaps, simply: I love it, and sincere thanks to all! Here are my thoughts about the music on Disc One after several turns without help from AMG etc.: # 1: This CD sure starts at a frantic pace! I know this is track 7 from This LP, so I won't say no mo'. # 2: Freddie Hubbard or Woody Shaw was my first thought about the trumpet player, but I'm not sure - I lean more towards Hubbard. Alto saxc reminds me of Sonny Fortune or a young Kenny Garrett, but I do not know the music of all of these well enough to be sure. Don't know if Hubbard ever recorded with larger horn sections - I hear a tenor and trombone in the background. Don't recognize the rhythm guys either. Nice and energetic, but not something I would buy. # 3: If this is from the Curtis Amy Mosaic Select, I'll have to get it soon! Did Amy play bass clarinet? This is a very good trumpet player and an individual conception of soprano, anyway, my top track of this disc! So much for guesses; vibist reminds me of Bobby Hutcherson or Roy Ayers, I'd say Ayers since he place some very rhythmic phrases and has a very fluent melodic quality I do not hear in Hutcherson, who always appears a little more abstract to me. Ayers is my favourite vibist of all time, it is such a pity he decided to quit jazz. # 4: These two guys (there ain't no mo', although they make some big noise!) start out at such a level that they have a hard time intensifying: I would have liked to hear more rhythmic variations by the drummer of that calypso beat, and the patterns the alto saxist beats out on the cowbell are a little too sloppy. The best moment on this is at the end when they do scatted rhythm exchanges - they should have done that with their instruments! Before that they simply hit too hard, and I find this track too long for the substance they present. # 5: I'd say this is Mal Waldron with his heavy rhythmic piano style that Joe Berendt compared to morse codes. No idea from what album this is or who the bassist and drummer are. This would be more fun to hear live the way it is, again a little too extended for a record for my taste. # 6: At first listen it took me a few lines to realize she was singing in English! This is the traditional folk ballad "The Water Is Wide", which lingers in my mind forever since I heard it on a record by folk singer Fred Neil many, many years ago, and the simplicity of his version is hard to top for me. I'd say it is not a native speaker of English singing, the color of the voice reminds me of Karin Krog. No idea who that singing soprano player is, I like his sax more than his singing. Their phrasing and intonation is not to my taste, although I appreciate their deeply personal approach, they project a very sincere feeling for that song. No idea but curious who this is. # 7: Every BT includes a track from a CD or musician I considered for my own. Here 'tis, one of my favourite albums of this artist, track 1 from this CD. # 8: I'd say Ornette Coleman and Don Cherry or something in that direction, I have the Atlantic but haven't listened to it often enough. This is a track I will return to, it sustains my interest even after repeated listening. # 9: This must be Johnny Hodges, probably with Duke's orchestra, probably Harry Carney's baritone, this is no secret, so I tell it right away! Don't have this, but as often with these men, great music of an eternal quality. # 10: I once heard Dexter Gordon say on a club date: "There comes a time in the life of every saxophonist when he must play Body And Soul!" Track 4 on this CD. I think these early recordings of this quartet are a little underappreciated - but more later. # 11: This sound very much like an impromptu session to me. The soprano sax is terribly off mike, and he and the guitar act like they were in different rooms disregarding each other while ad libbing over the same rhythm section. The guitarist's mind is ahead of his fingers, but he has nice ideas. That vocalist has a big voice which I kind of like - again I think this is way too long and too sloppy in execution. Okay for a slightly boozed jam session. Is this an amateur recording? As I said, track 3 is my favourite, followed by # 9 - I'll listen to the second disc tomorrow! This is fun! p.s. edited to fix a link.

Chuckyd4, it's your decision if you want to step back to the end of the list or just want to let one or two others step forward. There is no punishment for not being able to get one's BT ready in time. Just post here who's going to do the next and I'll adjust the list accordingly. Maybe someone else who's not on one the next positions has his selections ready?

Good description! I often think it is much more difficult to stay on common musical ground and constantly deliver excellent performances than putting up something revolutionary. His Eastern Rebellion bands featured very good arrangements. Most will probably miss him only after he's gone, I'm afraid.

Same here. Last one was the Blue Mitchell set a few days ago, by air mail parcel. took about 10 days to arrive. I had some sent by air mail who took 6 or 7 days, so it doesn't make that much of a difference. This one was opened for control by the local customs, but no damage occured. For a 60 $ set, I find 20 $ for air mail shipping a little high, although it's not their fault.

Cedar Walton was born January 17, 1934, so he turned 7o, and we forgot!!! That's how we take care of our living jazz masters ..... Apart from the fact that I saw him perform five times, more often than any other jazz player, he is ..... you know what he is. Belated congratulations!

The Blues Trilogy CD I posted above is half duets of Fischer (on acoustic piano) and Foster, very fine music!

My best wishes are with you and your family - I lost my mother last November after long illness and know what you are going through. May she recover, and lead a fulfilling life for years to come. Take good care of yourself, we will be here waiting for you!