mikeweil

One LP of the Poppin' and Burnin' (a Wes Montgomery quote on Farlow, BTW) was compiled from previously released material, but the other LP was an unreleased session with Oscar Pettiford on cello that was only partly successful due to the rather stiff playing of drummer Henry Bellson (Louie's brother).

All I know that it was a good deal and they were issued at the occasion of Capitol's anniversary a few years ago. Only the Mosaic Classic Capitol sessions box offers more, as it has complete sessions, yours have the highlights. They are pretty rare outside of Japan, I think. Wasn't there a thread here or on AAJ about them? Maybe you started it?

I have probably posted this before, but all the collaborative sessions by Jack Wilson and Roy Ayers under their respective leadership for Atlantic, United Artists, Blue Note, and Vault would make a very nice Mosaic Select - may Mosaic put their efforts into this! Roy Ayers - West Coast Vibes - United Artists Roy Ayers - Virgo Vibes - Atlantic (only one session with Wilson) Jack Wilson - Corcovado or Jack Wilson Quartet feat. Roy Ayers - Atlantic Jack Wilson - unissued big band and quartet sessions - Atlantic, prob. lost Jack Wilson - Brazilian Mancini - Vault Jack Wilson - Ramblin' - Vault Jack Wilson - Something Personal - Blue Note plus another only partially issued session (Vault LP 108) with unknown personnel.

ALL of them hard boppers cut their teeth in R&B bands, up to Coltrane, Turrentine ....... well almost all, but many more than one might think. Joe Morris once had Johnny Griffin, Matthew Gee, Elmo Hope, Percy Heath and Philly Joe Jones in the band. Tadd Dameron, Randy Weston, Johnny Coles, Connie Kay ... that's where they got the groove. And before R&B it was hard core swing bands, like Lionel Hampton's, the godfather of R&B.

Set # 3561 arrived today. It's much better than I expected, I had only the first three sessions on individual CDs, and the larger ensembles are the real winner for me; great arrangements, good groove! They should have called it "The complete Blue Note Blue Mitchell - Junior Cook sessions", as it was their co-lead band, and cook plays great throughout, I've never heard him better.

Carla is nice, I own 2 of her cds, but to compare her to Helen or Anita this is a different story. Mind you, I should know better we should not compare, but at the end of the day we all do, when I sit down to listen to music, I make a choice!! Thanks I'll spin Carla tonight!! Thank God we can make a new choice every time! I love them all, they are all so great, each in their own way, and I love the differences. Nice to hear you like Carla, jazz1! There are sound samples on her website I linked above, I'd recommend the latest two, The Sweetest Sounds and Listen Here.

... not bigger, but better:

The Friedlaender cover photos were great, this is my favourite (sorry, couldn't find a bigger one):

No Swiss TV, but 3sat, they often broadcast recordings of Swiss jazz festival around the time normal people (who are definitely not interested in such things as jazz) are sound asleep - but there is a VHS recorder in my posession, and moreover, I know how to use Showview and stuff, hehehe B) I'll watch out for her!

BTW, talking about German Jazzers going East - if you ever can get a copy of George Gruntz' MPS LP "Noon In Tunisia", grab it! This is some really exiting Jazz-Arabian fusion. There is a TV documentary in the SWR vaults, they should get that out on DVD!

Of course I do realise this, that's my justification for my weird combination of jazz history and autobiographical elaborations .... I'd sure like to recommend a Kronberg CD, but I don't know of anything really adequate, too bad he is gone ... There are some of the Mangelsdorff groups with Sauer and some of his available, if you like Albert, you won't go wrong with any of his MPS albums; the Sauer releases (there is a new trio available through Zweitausendeins) I haven't heard. Hearing him live was enough for me I am aware of the (east, in this particular case) Asian influence, but well, it just didn't move me that much - I was listening to a lot of Asian and Arabian stuff as well and found the inspirational sources much more exiting. And I'm sure there is a cup (of tea and else) for everybody!

Deep in your heart you know they won't.

ubu, why don't you have a dvd of her !?!?!

Be warned it has a few tracks with a string quartet. I find it a little unsettled and not quite on the level of the first Impulse box. But they still have it: Jarrett, Keith "EXPECTATIONS" Mit Charlie Haden, Paul Motion, Sam Brown, Airto Moreira, Dewey Redman. Aufnahme 1972. Digitally remastered/20 Bit. Columbia Legacy. 2 CDs 9,99 EUR. Nr. 71488.

To fill the gap until Jim posts his inside stories about Quartet Out, I fulfill my promise and post some more exposé ... That Mangelsdorff track made me think about my relationship to that music, and it was a nice coincidence that I caught a 45 minute feature on him in one of Germany's documentation TV channels last week, done at the occasion of his 75th birthday last year. It struck me that after an initial heavy Tristano school influence they wanted the music to become somewhat less cerebral, but to me it still sounded pretty abstract and I missed the "black" groove. In the 1970's his music leaned more and more towards so-called "free jazz" and he became one of the leading players in Globe Unity circles and at the same time started developping his amazing multiphonics technique. It was two factors that made me stay away from this music: 1. it was readily accessible, I lived only 15 miles from Frankfurt where he lived and performed the most often, and I had listened to it often enough to find out that this was not what I wanted to pursue 2. as I was exploring ethnic music at the same time, there was not enough relation to this in it - where I was checking out the African-American roots of the music, his was trying to gain some independence from it and find its European identity. This is a complex process on the verge of contradiction, as he once stated playing jazz was one possibility of playing music that was the farthest removed from some aspects of German culture he was disgusted with, like people singing more or less drunk in October-Feast-like events .... Where I still here a continuous soundstream in Mangelsdorff's own identity, it is the sax players who changed radically: Heinz Sauer developped a raspy inattractive sound without a trace of beauty or humour that I find hard to stand for more than one solo; Günter Kronberg became one of the greatest mainstream alto players in all of Europe, but there is not a single recording giving a true impression of the energy and comittment to music he exposed on gigs - I saw him with the band Voices (Sauer was in that, too) a few months before his death and he blew everyone off the stage! Great baritone player as well! The stuff they recorded for local radio - which was a lot - was too controlled. The drummer, Ralf Hübner, always disappointed me, almost no independence of limbs, bad taste in crash cymbals, there were groovier drummers in Germany, but he was the local matador. His influence was so overpowering, especially because he was the German scene's role model for international recognition, that I had to stay away from that music. I appreciate the achievements and influence, but it is not my cup of tea ... didn't move me that much, I have to admit.

My favourite Redman solo, BTW, still is in the title track on Jarrett's Birth.

I sincerely can recommend the Jarrett band with Redman, Haden, Motian and Franco or Johnson on percussion. I'd say go the first Impulse box which includes the live tracks in more complete fashion and gives a better picture of what the band did live. I like this quartet much better than the European one with Garbarek, they did some wild stuff. AMG link

It's sounds are filling my room right now! That first track is Eddie at his coolest! Sure would like to know what made the audience laugh and applaud in the opening theme. They had a good time, clapping happily along ...

Cool indeed! I'll keep my fingers crossed (except while posting here, that is!).

It probably is due to the scripts programmers use for the board software. They save work and time by using scripts existing in MSIE without checking that the stuff works the same way in other browsers. Same goes for some websites. I sincerely hope this will all change once Microsoft starts charging for its browser, then they will have some tough competition. Right now MSIE dominates that much that hardly anybody seems to care about making his stuff compliant to other browsers - I always smile with delight whenever I use AllTheWeb and read "Opera compliant"!

Oh, now I remember - one more of these cases to drive a jazz lover mad

That describes it very well, I think, and the reason why I dig this CD out only once in five years!

This board brings bits of paradise to earth like no other place ....

For a CD/LP based database this may be okay, but it won't meet critical discographical standards. For this, I'm afraid, a database like BRIAN by Steve Albin will remain the best.

All of us board members together would make an unbeatable team to write up some definite critical musician biographies ...