mikeweil

So they had much more stored in New York? Like the Don Cherry tapes? Any idea how much there is, Chuck?

At last had a chance to listen to the two CDs of the recordings of Dorham and Wilen, a very nice band, both play beautifully! ( ......, you know who I am thanking!)

That last tune on this soundtrack album, "Hay no problema" is a nice one, had the pleasure of playing it with just piano and conga/bongos as accompaniment for a Spanish dance choreography. There is so much good music written for these soundtracks that could stand on its own and should be played!

Is this available somewhere?

I'm afraid the tapes were destroyed by the devastating fire in Atlantic's tape vaults in 1974 like most other unissued material before 1970, except for the few items that happened to be in New York for some reason - that's were the few uinissued tracks of Coltrane, Coleman and others come from.

There was a description of the Miles Davis Quintet going somewhat like this: A trumpeter that fluffs half of his notes, and out-of-tune tenor player, a cocktail pianist, a drummer that is too loud, and a teen-aged bassist. No idea where this originated, I have it from the liner of the Prestige Miles box set.

Thanks for the opinions. What Hooker CDs would you recommend besides "Suffer"?

The AMG review tells the greater part of "Riot" is on the "Essential" 2 CD compilation I mentioned in my post above, and in good sound, as all recent Legacy issues. So that may be one to settle for, at least for the time being. I will get it and see if I get the message now that I'm a little older and wiser ... I surely got some message from J.B., "Papa's Got A Brand New Bag" and all the hits come hit me righ taway, the groove reached me instantly, although I didn't like his screaming vocals. But Sly Stone - perhaps the surroundings for a young German to grow up in are too far removed to comprehend something like Sly Stone, ar what do you all think? Is it some non-musical level that's more important here than on the J.B. hits? Idon't know, but would like to hear your opinion.

I once saw Jammin' the Blues on a satelltite movie channel that is no longer on air, and it was pristine video and audio quality, on the level of the Jazz at The Philharmonic on the DVD, so there must be even better source material somewhere. I kicked my ass many times I didn't have my VHS recorder ready at the time ...

Ubu, I suggest a joint venture to get Jim's discs .... That Redman - I listened again after knowing it, and it does not quite sound like his usual stuff. That typical cry he has is not displayed here. I have a lot of his stuff with Jarrett and should have got him, but this is somewhat more "classical" jazz than his other stuff. Beautiful track.

I bought it pretty soon as I was afraid it would be deleted as fast as it was released, and I always thought that Branford's working band with Kenny Kirkland and Tain was a great one, developping their own take on modern jazz playing with a very personal note. Kirkland's premature death - he was one of the best post-Hancock pianist, not just an imitator - must have been a great loss to Marsalis. I like it and think they deserve some credit for their taking chances.

Will you please send your info abou these issues to Noal Cohen, you will find an e-mail link on his website that I linked in my above post. We discographers need your help with such items! Thanks a lot!

Back to Benny Carter : Bruyninckx lists three LPs for UA: - Aspects, a big band LP which was on a Capitol CD a few years ago (1958) - Can-Can and Anything Goes, a quartet LP with Hal Schaefer (?) on piano, Joe Benjamin, Gus Johnson and Ted Somer (1958/1959) - Quartet, with Jimmy Rowles (!!!), Leroy Vinegar and Mel Lewis (1958/59 or 1962), there was a French Blue Note LP reissue of this. I hope the CD reissues the latter!

I saw it at the Frankfurt Saturn-Hansa branch at the same price.

I noticed that, too: Seems the labels are gettin' tougher with box sets.

I hope mine will make it safely over the drink - got the confirmation letter two days ago. They HAVE to keep one to replace it in case the plane gets dumped!

I had the Roy Ayers Collectables and it sounded fine and just as good as the individual Atlantic CDs issued recently. Their pairings are indeed strange ... The Clarke/Boland c/w Mitchell/Ruff sounds fine, too.

It's not Baker, it's Jon Hiseman before his Colosseum days. On the Bond it's him with Bruce, Hiseman and Heckstall-Smith.

Didn't buy it back then for lack of funds, but sure would like to hear that once again, AFAIR it sure swings. Bruce is on acoustic here, and isn't it Ginger Baker, McLaughlin and Dick Heckstall-Smith? I do remember there was another album under Graham Bond's name with the same rhythm section. It's a shame Universal didn't give Bruce the box set treatment on occasion of his recent birthday. One of the more important substantial rock heroes, IMO.

If the Non-Jazz AOTM threads will deliver instructional qualities of this order, I'm all the more for it. I have to admit I didn't get the point with Sly Stone's recordings at the time, but "In Time" from the "Fresh" album hit me as a highly sophisticated and original piece of funk. As I cannot afford buying all the single albums right now, I'll settle for this primer:

Has anybody heard and can recommend this one? I'm curious about how Sam Jones and Louis Hayes come across with Hooker, they're fine on Eddie Vinson's Riverside date, but with Hooker? As always, thanks in advance!

That setup change improved the guitar sound, for sure, almost as good as on later Riverside sessions, but it obiviously reduced the level on the tenor sax mike, because it sounds even thinner than on the first take. Now Clay had a very lean tenor sound, not voluminous, not much "bottom" - Jim, you can describe this much better than I can - but a tenor with such a hard sound easily overshadows Wes' delicate guitar sound, so they reduced the volume, and the balance in the theme of "So Do It", the only tenor tune, is dissatisfying to these ears. While writing this I listen to this: which I consider a companion album, as it was recorded the preceding day with partly the same personnel. There is more tenor here, and it is far better recorded, warmer and more virile sounding. Strange: same studio, same engineer (Wally Heider), two conscutive days. I hold Clay in high regard, but think the session would have been more successful without him. The two quartet numbers, especially "Ghost", which is magnificent, are proof of this. And it was a little shortsighted by Wes to simply borrow that guitar and record on it. It's not simply a guitar tuned an octave lower. One guitarist I perform with alternates on (acoustic) classical, 12-string, and contrabass guitars and has to approach each of them differently - e.g. an electric bass guitar player could not get a decent sound from the acoustic bass guitar! It takes practice, and as critical as Wes was about his own sound, he should have taken more time to study that instrument. He doesn't sound as sure and fluid on it as usual, no octaves, very few instances with chordal playing. It sounds too thin for these ears, and rarely uses the low E string. You have to adjust the tonal settings differently as well, on the amp and in the recording console. This sounds like he used his amps with his everyday settings, which will not yield an adequate sound. The whole record sounds thinner to me, the bass, the piano, and the bass drum sound in Movin' Along is plain awful. Still a nice record, but IMHO, an experiment with mixed results. Jim, have you heard the Clay record? If not, I think you'll like it better than the Wes date.

I agree that most Naxos CDs can be bought without risking too much. Some of it, like the ongoing complete recording the lute music of Sylvius Weiss, a contemporary and friend of J.S. Bach and one of the greatest lute players of all time, is fantastic, and well recorded as well. Naxos operates from Hongkong and thus saves on costs, but is headed by a German, who BTW cut his teeth with the Marco Polo label, a high-price specialist for rare late romanticism, some of which is now reissued on Naxos. Their success forced all the majors to inaugurate similar lines: BMG's is called Arte Nova and features one of the most striking recordings of the Beethoven symphonies by David Zinman and the Tonhalle Orchestra of Zurich; they now do a cycle of Strauss' orchestral music to high critical acclaim. One of their newer ventures is a series with the Basle Chamber Orchestra conducted by Christopher Hogwood, called "Classicistical Modernism", featuring original concert programs from the 1920's to 1940's originally premiered in that city, featuring works by Martinu, Stravinsky, Honegger, Tippett and Britten (so far), that I heartily recommend. Many low-price CDs of the majors are scaled-down (as far as info is concerned) reissues of older recordings of varying quality, as far as sound and interpretational qualities are concerned - if you know what you are looking for there are some great bargains. But most of these are deleted pretty soon, they seem to try to capture the buyer's attention with new methods every three or so years.

Well, he almost missed one: He reportedly fell asleep during one of the tracks on the session for Monk's Music, missed his cue to start ofter Monk's solo - you can hear him shout "Coltrane, Coltrane" on the record. Trane didn't play one wrong note, just played somewhat faster until he caught up with the changes.