mikeweil

Saw him live with Dexter Gordon's quartet (Kirk Lightsey and Rufus Reid were in it) at an 11 a.m. outdoor gig in Frankfurt. Dexter had a little hangover from the night before and adressed the audience with mumblings about it being "unusual to play some mid-day bebop", but the second the rhythm section hit the first chord of the first tune, "Moment's Notice", the sun broke through the clouds and lighted the stage! Unforgettable! Eddie was great that day, as always when I listened to him. His duos and general interplay with Larry Young was of the extraordinary. One of his closest musical friends was Mickey Tucker, they recorded a few excellent albums together I highly recommend. One of the many good musicians that go by unnoticed when they leave the general spotlight for some reason or other - didn't I read somewhere he was ill a few years ago? - and then are missed sorely when they pass away. R.I.P. Eddie, and thanks for your inspiring playing.

Go get it! I got me a copy on ebay a few months ago and enjoy it to death! Everbody is playing great, Nat Adderley is in fine form, George Duvivier does some of his best work as accompanist and soloist on it, Costa's great too - Oscar Dennard plays on some tracks, but Costa has all the piano solos. Good writing too. A box set of all A.K. Salim Savoy sessions would be great. If it's the DENON CD, the personnel listings are not quite correct. Shall I post the right ones?

There was a really good one. I don't believe I've ever seen it on CD. It was a double LP if I recall, and somewhere I have it. LPs are such a pain. Supertrios is on Milestone MCD-55003-2: McCoy Tyner Fantasy Catalog Page 2

Two different concepts to use the same thematic material, two different approaches. Of course it was played in the basic style of the quintet with its unlimited possibilities when Miles recorded them, while Wayne - that's the impression I get - wanted to achieve a somewhat different sound on each of his Blue Note dates. No need to replicate something that's already been recorded that way. I like 'em both, so I couldn't vote - always remember to include this third alternative when starting such a poll.

Just thought these Donald Byrd 1969-1970 sessions would make a nice companion Mosaic Select to the Duke Pearson set, Duke had his hands in all the sessions as player AND arranger AND producer, they partly use the same personnel and have a similar vibe to them. And there is another still unissued Byrd session in the Blue Note vault: Donald Byrd tp William Campbell tb Kenny Rupp frh Al Gibbons fl Duke Pearson elp Wally Richardson elg Roland Wilson b Freddie Waits d unknown vocal on 2. and 3. July 7, 1969 1. Congo 2. Yano 3. Now wrehe de

Donald Byrd tp William Campbell tb Lew Tabackin fl,ts Frank Foster ts Duke Pearson elp Ron Carter b Bob Cranshaw elb Airto Moreira d A&R Studio NYC, December 16, 1969 1. Kofi (Byrd) 2. Fufu (Byrd) Donald Byrd tp Frank Foster ts Duke Pearson elp Ron Carter b Wally Richardson elg Mickey Roker d Airto Moreira, Dom Um Romao perc A&R Studio NYC, December 4, 1970 3. Perpetual Love (Byrd) 4. Elmina (Byrd) 5. The Loud Minority (Foster) The 1995 Blue Note CD CDP 7243 8 31875 2 2 was the first issue of this material. Definitely not a compilation, but a vault issue. The sessions for Fancy Free were held on May 9 and June 6, 1969; those for Electric Byrd on May 15, 1970, right between those that remained unreleased. I find all three are good, perhaps Kofi just sound fresher in our ears 'cause we listened to the other two pretty often ..... I'd get Kofi, in any case ! BTW, the titles of the first two tracks are Ghanaian expression, Fufu being a typical dish, some kind of stew. I'll ask a friend from Ghana what Kofi means, probably a weekday's name - children are often named after the weekday they were born.

If B3-er takes some boogaloo sisters with these t-shirts and thongs to the gig, he'll easily break the group's attendance records ....

"His autobiography gives a vivid picture of the scene he was part of and tells of his ambitions and frustrations, but is not always accurate as far as historic details are concerned." This is what I wrote a while ago as part of an introduction to an as yet unpublished - and still incomplete - Poindexter discography. I saw him live - he resided in Germany for quite a few years - and he wasn't bitter at all, just a bit frustrated that the local musicians hadn't the level of musicianship he was used to from the U.S., with some exceptions, like Tete Montoliu. He was terrorized by jealous cops in California for having a white girlfriend, frustrated by Columbia Records after recording his excellent Pony Express LP (currently available on a Koch Jazz CD KOC CD-8591 and highly recommended, a true all-star sax meeting) - in his eyes they favoured Paul Winter as soprano saxophonist, who had just played the White House and made more accessible music and delayed release of his album for more than two years without any explanation - he had given up on a tour through Europe with Lambert, Hendricks & Bavan to finish it in time. A very talented musician, a good reliable player with a style of his own who got sidetracked by some less pleasurable aspects of the scene. I also recommend his two Prestige LPs: Gumbo! is part of Prestige PRCD-24229-2 - Booker Ervin / Pony Poindexter / Larry Young: Gumbo!, with some hitherto unissued tracks from New Jazz 8285 - Pony Poindexter ... Plays The Big Ones; this LP is on a British reissue Beat Goes Public BGP CDBGPD 077 - Pony Poindexter ... Plays The Big Ones /Gumbo! - you unevitably buy one album twice, but it's good, featuring Booker Ervin, Al Grey and Gildo Mahones. These two Prestige LPs were largely misunderstood by jazz critics at the time of release: he was accused of using material too far from jazz on Plays the Big Ones, and only his fellow musicians understood his attempt to further develop the New Orleans tradition on Gumbo! He can be seen on the Video Koch 8568 - Count Basie / Lambert, Hendricks & Bavan ? Jazz Casual.

A google search turned up this: 10/12-10/9: JAZZ GREAT ERIC KAMAU GRAVATT LIVE!! Reply to: bmiletich@comcast.net Date: 2003-08-20, 7:31PM WAYNE SHORTER JUST SAID IN "MODERN DRUMMER": " ERIC WAS THE ONE...MILES WANTED HIM,BUT HE CAME WITH US IN WEATHER REPORT." < MODERN DRUMMER PG. 110 SEPT. 2003 ISSUE> MAKE YOUR PLANS NOW TO ATTEND THIS GREAT EVENT IN NORTHERN CALIFORNIA!! ERIC KAMAU GRAVATT WILL BE PERFORMING WITH SOME GREAT YOUNG NEW TALENT IN THE LOVELY WINE COUNTRY,THE TOWN OF PETALUMA- IN BEAUTIFUL SONOMA COUNTY! AT "ZEBULON'S LOUNGE " WHERE ONE CAN HEAR SOME OF THE BEST LIVE JAZZ 7 NIGHTS A WEEK!!! A SMALL, VERY INTIMATE SETTING WITH A GREAT WINE LIST, A VARIETY OF SAKI DRINKS, & OVER 25 FINE BELGIAN ALES, "ZEBULON'S" RECENTLY CELEBRATED THEIR FIRST ANNIVERSARY OF LIVE NITELY JAZZ!!!!!!! THE DATES ARE: 10/09/03 TO 10/12/03. DISCOUNT AIRFARE AND BRAND NEW SHERATON HOTEL RATES ARE DISCOUNTED AS LOW AS $49.00 PER NITE!....RIGHT ON THE PETALUMA RIVER THAT LEADS TO THE SF BAY! FOR DETAILS: bmiletich@comcast.net OR trevor@zebulonslounge.com feel free to call Brent @ #415/307-8739 .... and this gig has just taken place: Live Jazz in Minneapolis, Saint Paul Minnesota September 2003 September 4 Source Code w/ Eric Kamau Gravatt & the amazing Dave Hagedorn on vibes @Artists' Quarter .... but he must have a regular gig with this band: Artists' Quarter (651-292-1359), 408 St. Peter St., in the basement of the Hamm Building, St. Paul. (Use entrance on 7th Place. Parking is available on the street and nearby ramps.) Every first and third Thur., Source Code with Eric Kamau Gravatt, percussion; Dave Hagedorn, vibes; Ron Evaniuk, bass; Dean Brewington, alto sax; and Dave Leigh, trombone, 9 p.m. ... and he must have recorded an album recently with British pianist Tony Hymas.

Alan Bates of Black Lion has the rights for all Fred Norsworthy produced Jazzline et.al. LPs, there was a CD of this issued in 1989 with three alternate takes added, Black Lion BLCD 760134, under Donald Byrd's (!) name, titled Groovin' For Nat. A nice session, the rhythm section with Pearson, Bob Cranshaw and Walter Perkins cooks, and the unusual two trumpet frontline is very attractive, nice to compare Byrd and Coles. This will definitely not be part of the Mosaic Select, so look for this CD:

The Gillespie Blue Note 10" LP contained recordings originally done in Paris in 1952, licensed from Vogue. The complete sessions were among the series of Vogue reissue CDs from BMG France a few years ago.

Okay guys, this discussion got me hooked! I wanna participate, the average costs can't be higher than the price of one high-price-CD a month, not to mention the fun ... - I find myself pulling CDs to fool you when it's my turn - oh, the list is long .... Anyway, how can I do it???

Didn't know he cut an album for Verve ...

Tete was one of Europe's top five 20th century jazz pianists, period. Glad I sw him live in the 1980's.

Basically I dig the last Blue Note sessions more, Expansions, Extensions, Asante and the stuff on the Cosmos twofer LP, half of which is still due for CD. On the Milestones I find his piano playing a little overpowering. Orrin Keepnews' striving for different contexts in which to present an artist sometimes kept McCoy's working bands out of the studio, or altered their playing style. The most interesting band for me was the 1976 edition with Gary Bartz, Joe Ford, Ron Bridgewater, Charles Fambrough and the very underrated Eric Gravatt on drums. They only recorded one album, Focal Point, which uses sax ensembles via overdub to good effect, but the duo of Tyner and Gravatt (Parody) shows what energy this band must have had live - no two bars are played alike. To me this album is the real gem of his Milestone years, and I regret there was no live album recorded. Sama Layuca is another favourite. But I have yet to check out the live albums.

He was touring with Herbie Hancock's Future 2 Future band last year, playing the prince of darkness role very well.

Guy, many thanks for the input. Of course, I should have looked there first ... ... but I simply like to converse with you all here . The link doesn't work with me, perhaps because it links to a specific line on the page; perhaps this one will work: David Wild Website Go the FAQs page.

The 4-CD box set edition of John Coltrane's Village Vanguard sessions includes two tracks with bassist Ahmed Abdul-Malik playing an oud, the Arabian lute - at least that's what the ession credits say. To these ears, this instrument definitely does NOT sound like an oud, but like a tamboura or sitar. Track 4 on disc 4 has this instrument alone at the beginning of the track. Anybody here on the board with a knowledge of middle eastern instruments with the same observations? ----- This wouldn't be the first time an "exotic" instrument was miscredited; the misattributions of bongos vs. congas go into the hundreds. Way back I wrote David Wild and Michael Cuscuna that the Calypso Boys on one of Dizzy Gillespie's DeeGee sessions did not play bongos as in the album credits but congas, maracas and claves. They corrected and admitted they had based their info on the original session credits, which were wrong. A similar story is on some thread here on the board with Herbie Hancock playing not a celeste on Freddie Hubbard's last 1960's Blue Note studio session, but a harpsichord. Some care with non-familiar instruments please!

Just another take on the endlessly repeated story of madness and genius. Not a single one of these scientists seems to get the idea of what a representative study really is. For each jazz musicians with mental problems - they exist, depending on how you define them - there are hundreds living unspectacular lives the press never writes about. But they wouldn't be nearly as "interesting". Tediuos crap.

Maybe Rufus Harley auditioned for the band and ended up borrowing the pipes for a few nights?

A great series of LPs, indeed. One of the last things I completed before I stopped buying LPs. Some material has been issued on CD in the Chronological Clasics series, on Ocium or whereever it fit into place.

A search on the web reveals it is spelled "Mais Que Nada" in recent years. Seems "Mas Que Nada" on the first Mendes single and LP was a misspelling. Check these websites for info on Mendes: Sergio Mendes Discography A & M Corner

Ubu, what is your source for this? "Rejected" only makes sense if the recordings were done by or at the order of Impulse.

What makes Primal Roots unique is the reference to afro-brazilian roots expanding the musical palette of the group (Claudio Slon was the drummer, Sergio's wife Gracinha Leporace ist the lead singer). Side one has shorter tracks, using less well known rhythms like the Samba de Caboclo, Samba de Roda and Candomblé rhythms, with percussionist Laudir de Oliveira playing some beautiful conga drums and singing lead. Clare Fischer plays organ on some tracks. Side two is a 19 minute improvisation by the group with guests Fischer, Oliveira, Airto Moreira and flutist Tom Scott. The only thing to brag about it is the short playing time, less than 35 minutes. I wonder what the bonus track is. The ** AMG gives the record don't match the tone of their review; it was not a big seller, but is one of Mendes' most satisfying records, from a strictly musical point of view, and can be compared to some of the other encounters of Brazilian and Jazz musicians of the time, like Cal Tjader's Amazonas and several Hermeto Pascoal and Airto Moreira albums. p.s. thanks for the list, shrdlu. But where the hell is Podunk Hollar ?!?!

The copy controlled Blue Note CDs I have play without any problem on my Windows 98 computer, but it loads a special player from the CD to do so; sound is as good as usual. Don't have a burner, so I can't try this ...