mikeweil

I must add that I consider Julius Watkins and Charlie Rouse to be one of the great horn ( ) teams in jazz, they would have continued if the group had got some more gigs, they had met in Oscar Pettifords group. (The first one here has Phil Urso on tenor.)

The Watkins albums have wordless vocals on some tracks by a rather operatic sounding singer - he wanted a different color, using the voice like an instrument. I love them, though, and I would advice anybody with only a trace of interest in Watkins to get the two Atlantic LPs which are available on two Koch CDs, as long as they are around, they swing harder than the Dawn sessions, one has an extended group with Sahib Shihab that will appeal the most to the board members here. Atlantic: Dawn:

I am curious about the Tuba label. It looks like this was Orrin Keepnews first attempt at founding a record label after Riverside's demise, and so far I found only three LPs issued: TUBA LP 5001 Johnny Lytle - The Loop (December 1964 and mid-1965) TUBA LP 5002 Johnny Lytle - New and Groovy (January 1966) TUBA LP 5003 Junior Mance - The Good Life (????) It seems the Junior Mance was in part reissued on Milestone MSP 9041, some tracks with new bass and drum tracks dubbed in. Anybody know some more about this label? Why didn't Keepnews reissue the Lytle LPs on Milestone? (They were on a CD of the British BGP label in 1990).

You remember that group of musicians that jokingly called themselves "Miscellaneous instruments club"? Mat Mathews - accordion Herbie Mann - flute Oscar Pettiford - cello Julius Watkins - french horn Joe Puma - guitar (yes, the guitar once was an outsider, too!) These guys did many a fine recording session for Dawn, Savoy, Bethlehem, Riverside etc., but without the lush sound of an orchestra like Gil Evans', where most of you all accept these instruments for coloration, in a small group setting they are like under a magnifying glass. You have to open up, get used to it and listen. Just listen. There's a lot of beautiful music to be discovered.

It's all in the player's hand (and mouth), and it's all in the listener's ears ... There's good and mediocre players on every instrument. I have a friend who disliked many an instrument, but after playing him the right people, he turned around. I love some player on every instrument. Maybe some of you shouldn't expect some rarely heard instruments to sound too much like what you're familiar with. On the other hand, the techniques of several instruments were expanded when a player tried to transfer things he heard another instrumentalist do. Jean-Luc Ponty was influenced by Coltrane, as was Larry Young, and Coltrane practiced with sheet music for violin, piano and harp!

If the remainder of "Someday" really will not be in the fall box set, Mobley again is the looser: 1 CD Someday 2 CD Carnegie Hall Live 4 CD Blackhawk live then only the quintets with Coleman and Rivers would be in that box. Miles' curse over Hank still seems to work ...

I too suspect they will put the double CDs into a slipcase like they did with the two Blackhawk doubles.

I always thought that box would include everything between Coltrane and Shorter, except for the Live Blackhawk, i.e. the remainder of Someday my Prince Will Come not in the Miles/Trane box.

Hank Mobley - if nothing else suddenly pops up on the running low/last chance list. Next, the Roach oder Elvin. Or some early Selects.

Great site, thanks for the link! But even he is not free of minor errors: He erroneously lists Chano Pozo as playing on Machito's famous Afro-Cuban Jazz Suite, and he had died in 1948 - it was his cousin Chino Pozo, they're confused pretty often. It may be the fault of the label and wrong on the liner.

But this has to last as many days as you're old - so this may change all the time etc.

It was the Trustees Award, not the lifetime achievement award, who went to Van Cliburn. Why not? I can think of a lot of other jazz producers who have less to their credit. I do not share all of his opinions and cannot approve of all of his decisions as a producer, but what would we have done in his place? One's for sure: without him some of the greatest jazz records wouldn't exist!

What puzzles me a bit is that Jazzmatazz announces the Cellar Door Box for spring and the Steps box for fall, and here it's the other way 'round ...

Plenty in it for Latin fans, the Candido and the Machito. But the real winner is the Johnny Griffin: I suspect this is the rare Argo LP, originally intended for the Parrott label, recorded in 1955! It is much better than the first Blue Note! Get it. I said: Get it !!!

If it truly is 11 (!) CDs as stated on Jazzmatazz it MUST include lots of unreleased material! There were only 10 LPs and 1 CD with a live concert from the vaults.

The Cellar Door box is the only one I will buy as soon as it hits the shops!

If that means they're going to be somewhat cheaper, it's alright with me ...

It went OOP more than two years ago! I wanted to order it back then - thought it was too expensive when it came out, would have preferred four smaller box sets - but it was gone! But I scored one on ebay for 70 EUROS last year!

That's the only Shorter record after the Blue Notes that I really dig!

Well, I'm afraid I'm too biased to objectively tell about the Dave Pike Set - I never liked Kriegel, although he was an important pioneer figure for jazz and jazzrock on the German scene for many years, but he had his limits, was self taught and used only three fingers of his left hand, resulting in his peculiar style - maybe he got that from watching Django Reinhardt, who used only two fingers after his hand was injured by a fire. As I have stated in my posts about the Mangelsdorff groups in the discussion of BT # 5, I always compared the rhythm sections to those with US musicians, and most of them sounded too stiff to me. But if you listen with ears less prejudiced than mine, there is a lot to get from this music. Pike was great in this band. But the others - and especially the last band Kriegel played in before his death about two years ago, the United Jazz and Rock Ensemble - sounded as German as their names. Kriegel was a very successful cartoonist and author of children's books, and retired more or less from music due to health problems - he had tongue cancer - in the mid-1990's.

Dave Pike !!! I kick my ... every day that I omitted him. This record : (AKG wrongly says it was not yet on CD - Amazon Germany sells it at 5 EUROs at the time - ) is one of the greatest of its kind. Kind of Miles Davis early 1960's going vibes, Bill Evans is on it, and in excellent form. One of Evans' first sessions after Scott LaFaro's tragic accident. Pike had great rhythmic drive, perhaps due to the fact that he started as a drummer and is self-taught on vibes. I first heard him in Herbie Mann's band (1961-64), where he played nice snappy things on marimba and African xylophones. BTW, the guy he replaced in Mann's group, Johnny Rae, is another excellent doorbellist, he left for Tjader group, where he played drums and timbales - with Mann it was vibes and timbales.

Lytle was an underground hero in the British acid jazz movement, he gigged there, and was surprised that they knew these two extreme rare LPs from the TUBA label (Orrin Keepnews' first venture after Riverside's crash), told them where the tapes were and so the reissue on the British BGP label came about. Nice, but I find his Riversides a little better. I'd like to hear the Muse stuff, but the 32Jazz comp is OOP and nowhere to be found ... it's nice how he used the mallet reversed for a different sound and stuff, a real entertainer, on a very solid musical level.

They want 45 EUROS for that LP on a German used LP site! Sorry, couldn't find a larger pic of that meager meal.

That was the first that came to my mind!

BST 84378 The Three Sounds / Gene Harris Monk Higgins (org, arr) Gene Harris (p) Fred Robinson, Al Vescovo (g) Luther Hughes (el-B) Carl Burnett (d) Bobbye Porter Hall (cga) Paul Humphrey (per) Los Angeles, CA, July 26, 1971 Did You Think What's the Answer same personnel Los Angeles, CA, July 27, 1971 Eleanor Rigby same personnel Los Angeles, CA, August 2, 1971 Your Love Is Just Too Much Hey Girl same personnel Los Angeles, CA, August 3, 1971 Put on Train You Got to Play the Game I'm Leaving