mikeweil

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

I sell vinyl if there's a CD out that sounds as good and includes bonus material. Some vinyl I keep if there are some very special memories associated with them, or if the cover sucks in the smaller format. If an LP sounds much better, I will keep it. I try to avoid duplications as space is limited and I use sales to finance new purchases. So far there haven been only a handful of LPs whose sale I regretted. I am not that picky about sound, and think a lot of the talk about LPs sounding better is either plain nostalgia and listening habits, or due to the fact that these people have far better playback equipment for vinyl than for CD, and of course due to the fact that CD technology has some years to catch up to as far as optimum playback techniques are concerned.

Considering their rather good relationship to Universal - maybe there's some insight that they can make a little money, as the deal with European distribution of the Verve Mosaics shows. The prospect of dozens of possible reissue projects from the Argo vaults almost makes me faint. Mosaic has to look for new claims after Blue Note has been exhaustingly reissued.

The Granz Jam Sessions will have lots of cool stuff for anybody who likes JATP, I guess. One of those sessions, or rather, a half session, was included in the Parker 10CD Verve box. If this stuff is as good as the session with Parker, this is one to get. Hell, I haven't even got the JATP set!

Adam's Apple - it has something of many different styles, is an excellent showcase for his composing and there is no other horn disctracting the listener from his great playing.

I was not surprised how many recognized Gil's writing, but I wonder why this record is not as well known as his collaborations with Miles - I think it is every bit as good, as is the first Impulse album. Is this really OOP in the US? In Germany, Zweitausendeins still has it.

You just don't get it, do you? I say "young"and I am. I simply don't need to waste any precious time worrying. Leaves me plenty of time to worry about other things, like jazz fans on jazz forums. I may not get this, but I got you never heard the jazz standard I was referring too, so you're not jazz God, that's for sure

Now if there's one to get from that series, it is this: This is the ONLY recording of the Eckstine band giving an idea of the sound and the impact that band really had, believe me, indispensable stuff if you don't have it! Much better than the studio recordings!

If J.A.W. has correct listings that site Brownie linked omitts the alternate takes in the listings. I just wanted to start bragging about these incomplete CDs, but it looks like they added related sessions. These three pieces, e.g. are not on the Marmarosa LP: 2. Bird lore 3. Midnight at Mintons 4. High wind in Hollywood The Gillespie includes a second take of 'Round Midnight not on the LP! Oh Geez - more for the ever growing want list

Just had a look at the site Brownie linked: if their listings are correct, the Gillespie/Berman/Navarro incudes only the master takes of the former two and adds the five master takes from the Don Lanphere session with Fats Navarro. Great music, but far from a complete issue!

The Gillespie LP has the session of February 6, 1946 that Parker missed, with Lucky Thompson, Milt jackson, Ray Brown, Al Haig and Stan Levey (8 takes), and 8 takes from the Harmanites session of September 21, 1946 with Bill Harris, Serge Chaloff, Sonny Berman, and Ralph Burns.

The Garner LP does NOT include the tracks with Parker but the trio tracks recorded at the same session (3 takes), and 10 piano solos recorded for Dial on June 10, 1947, all very nice.

The Marmarosa LP has the complete session with Babasin on cello (!) and Jackie Mills on drums of December 3, 1947, 11 takes in all, two test takes of "Tone Painting" and two AFRS Jubilee performances.

I have almost all of the Dial LPs - the Norvo LP has Hallelujah 3 takes get happy 2 takes Slam Slam Blues 2 takes Congo Blues 5 takes No idea wether the CD has more.

If you consider some pretty outspoken lyrics on records of R&B artists, Wynonie Harris in particular, these censors must have been either stone dumb or laughing their asses off!

I forgot to mention one pretty waltz: Lady Heavy Bottom's House

Randy, one other thing while you're at it- the Johnny Griffin tune is actually called "Soft" and Furry. B) Now what sort of allusion is this supposed to be? Something close to "Warm Valley", I suppose? ubu edited for crappy spelling Ubu, you're on the right track with your fantasies .... Johnny Griffin is one of the greatest jazz composers of ballads and semi-ballads about the broad spectrum between sensuality and love - and I think he never got his due credit for it: Soft and Furry Lonely One Oh, now I see! When we were one Slow Burn Woe is me To Love The way it is Dawn Damn, there's a whole album on Galaxy: To The Ladies.

I for my personal taste have mixed feelings about many of the Verve LPs (only two thirds were on US CD so far). "Several Shades of Jade/Breeze from the East" for my ears are the two most commercial dates Tjader ever did - producer Creed Taylor engaged musicians from his pool of studio pros rather than Cal's (always good) working band, and the big band and vocals arrangements by Lalo Schifrin or Stan Applebaum are part okay, part on the verge of the unbearable, i.e. pretty corny. "Cal Tjader Plays the Contemporary Music of Mexico and Brasil" was a special project initiated by Clare Fischer to feature the compositions of some Mexican named Mario Ruíz Armengol, and since noone knew him in the US, Creed Taylor insisted on some bossa novas as well. The latter are very tasteful as usual, the Mexican boleros I think are equally great, but probably an aquired taste for a jazz lover due to the (wordless) vocals. "El Sonido Nuevo: The New Soul Sound" is one of two collaborations of Tjader with Eddie Palmieri, who had just imported the Mozambique rhythm from Cuba, and changed his band sound to the famous "La Perfecta" combination of a trombone section and rhythm, this is leaning more towards "salsa" than most of Cal's records. This is one I'd recommend - the CD includes 6 bonus tracks from other Verve LPs. The other Palmieri record was Bamboleaté on Tico, bootlegged many times and maybe available as a used CD, just vibes, piano, rhythm, and salsa vocals, a little short but good. (I'd suggest you wait a little on this ... The three "Soul" albums are all a mixture of Cal's working band with some studio guys or jazz soloists thrown in, I'd say buy one that's easy to get and cheap, like the LPR Soul Bird, and if you like it, you will like the others. "Soul Sauce" has some extended Descargas (jam session in Cuban language) with Donald Byrd, Jimmy Heath and Kenny Burrell. The best of Cal's Verve CDs, Sona Libré, with Clare Fischer, is OOP. The two compilations available are good for an overview and include some tracks not otherwise available on CD.

So what DO you get in the alps??! This double is nice, as you get two complete LPs: "Gozame! Pero Ya" is a nice Latin date with his working band, including Poncho Sanchez, Mark Levine and Roger Glenn, "The Shining Sea" is a nice straightahead date with Scott Hamilton and Hank Jones. The one that Zweitausendeins had was a real compilation of his Concord discs, so I'd say the one you found is the better choice for a potential completist.

Does Howell play electric or acoustic bass? Like I said in the discussion thread, it sounds like both electric and acoustic are on this track. Michael Howell's brother plays an acoustic upright bass like Henry Franklin. Both are heard together only on two tracks, but not the one in the BT - the liner clearly states Glen Howell - bass on "In The Silence" and "Ebony King". The tonal difference between registers is caused by the pickup, direct input recording may have played a part. The overall sound of this LP is not exciting. Everything obviously miked very close, the drums are very muffled. I don't like the sound I have to admit, and it is not earthshaking music, but somehow this LP holds a special place in my heart. The track Randy chose is Michael Howell's composition, "The Call". The melorhythmic phrase at the beginning was one used by the local paperboy in the area where Howell lived in California, to announce the new papers were out. As simple as that, and quickly told ... Now the story how I got to know is a little longer. My first conga drum teacher back in 1978 was a guy named Tom Nicholas, born in Philadelphia, who lived in California for some years before moving to Europe, where he became a pretty much in demand conga player on the German jazz scene. His steady gig for several years, BTW, was an Afro-Jazz band named Mombasa, founded and led by Californian trombonist Lou Blackburn, but they hadn't met there (This band featured some interesting players: Carmell Jones for a year, the excellent but underrated drummer Doug Hammond, and a trumpeter living in Belgium, Doug Lucas). Before moving here Tom played with Bobby Hutcherson, the George Coleman octet (at last, here is the George Coleman BT thread revived), recorded with John Handy, Roland Prince, and - you guessed it - Michael Howell. It was on Howell's first Milestone LP, recorded in 1973, with the Hampton Hawes trio with Nyimbo Henry Franklin and Ndugu Leon Chancler, Tom on congas, and two different sax players. I gave my LP to Tom as he didn't have a reference copy. I kept the second, and Tom told me the story of this piece he kinda liked, and had played with Howell on some gigs in California. Howell recorded it on the second Milestone LP. Bennie Maupin is clearly the best soloist on the album, up front in the mix, unaltered pure spund, and his sound with this personal mix of beauty, melancholy (up to resignation), and fire is what I like so much here. Howell is not an overwhelming guitar player, but here he is nice and open - there is a beautiful rendition of "Don't Explain" with just bass and drums. Remember, this is 1974, a bad time for straightahead jazz guitar. Kenneth Nash is the critical factor on this LP for my taste, the small percussion is nice, but the conga sound is hard and dry, without any warmth, and he plays not enough in sync with the drummer, always looking for a space to fill, even though Ndugu is not overly busy. I never held Nash in high esteem, his ideas are limited - the only band he really fitted in nicely and where he played very well was that of violinist Michael White, who did a string of LPs for Impulse with Nash in the 1970's. Howell recorded only one more LP under his name, and acoustic solo guitar album, where he had the guts to do McCoy Tyner's "Sama Layuca". I would like to take another listen, but found out I sold it with lots of other dispensable LPs when I needed money and CD storage room.

We all should coordinate our watches, and all play the same track of the Boogaloo Sisters CD at the same time. To really do this we would have to use local time, not time zones .....

I noticed the one LP I put on the most often is this one (in its OJC LP incarnation): No heavyweight music, but just plain groove and fun. Remember, not necessarily your best coice, but the one that is actually spinning the most often!

Maybe Rhino handmade will do the Louis Jordan - they seem to take their time. Since the complete Louis Jordan on Decca is still available - a great box set I heartily recommend for all Jordan fans - and the Aladdin sides were complete on some EMI CD, I wouldn't hope for any Jordan from Mosaic.

Duke Ellington to Cecil Taylor in 3 steps (that's an easy one!).

Oh no, everything is correct. It seems someone - maybe amazon themselves, maybe Zyx, maybe both, maybe still somebody else - imports the US releases, at least when they're brand new, so both versions seem to be around. ZYX does not manufacture all titles in Germany, but you never know which ones ..... The most ridiculous things about the scaled down box sets is, that the CDs in the jewel cases are identical, the only difference are the LP sized box and booklet, as though they would import these and put their own CDs into them, and considering the price while knowing that ..... The low budget versions were sold by zweitausendeins at the same price that retailers had to pay for them, that's why no other shop used to have them in stock! I wonder what will happen to the ZYX/Fantasy jazz box set repertoire now that the deal with zweitausendeins seems to have ended.