mikeweil

Dmitry, do you remember if there was a young trombone player named Dion Tucker in the band? When she toured Germany in September 2002, she had Steve Wilson, Mark Shim, Kenny Davis and a very young but very talented drummer, Tyshawn Sorey.

On bassist Rodney Whitaker's 1997 CD for DIW Japan "Hidden Kingdom", a pianist named "J.D." plays on four tracks with a very imaginative style. Does anybody here know his real identity? Could it be Marcus Roberts? Any opinion is highly appreciated!

The Decca CD (GRP 1-607-2) "Classic Early Solos 1934-1937" is some essential stuff, sound restoration is very good. In case it is out of print the Chronological Classics are a good way to acquire his early recordings.

Why is this my favourite? It shows the working spirit at the session, I like the yellow shirt, it matches the pencil , it is one of my favourite Mobley LPs .... not old school, for sure, but I simply like it better than most Mobley covers, although some are nice, especially Hi Voltage - which has another colour photo.

Sounds interesting, but to my knowledge the ADDA label is out of business. The zarb is a drum used in Iranian music, but the berimbau is an afro-brazilian music bow with a gourd resonator, struck with a stick held by the right hand, together with a caxixi basket rattle.

Bob Porter mentioned in the liner notes the tapes of the second ABC session were nowhere to be found.

I enjoyed his playing on A.K.Salim's "BluesSuite" on Savoy, he steals the show whenever he plays a solo.

Ben Webster played on the soundtrack (and is seen on the film playing) of "Quiet Days in Clichy" after Henry Miller's short novel, if that falls into the category ..... It's the 1970 Danish film he's in: Stille Dage in Clichy

I voted for Keezer for his exuberance. Saw Gene Harris too with Ray, and although he was a great blues player and the trio was very well together, the exitement Keezer brought into the trio tops it for me. Benny Green didn't show as much individuality, for my ears.

I chose Bob Berg: he seamlessly fitted into the compositional framework Walton laid out in the group. But they were all great in that context.

I guess this must be my favourite Blue Note LP cover, as it is the only LP I bought twice just to frame it - still hangs behind me while I type this: Your turn!

Now imagine all governments would have discussion borads like this, and react like B3-er when so many votes would come in .... we just acted direct democracy?

Interesting observation; there actually seems to be a "lyrical" type of listener. I can always discriminate in my mind between the instrumental and/or vocal version(s) of a tune I hear. And I think the lyrics, especially when written by some jazz expert like Jon Hendricks, Eddie Jefferson or King Pleasure, add another dimension to the piece, as the jazz world is their subject. BTW, it was really Charlie Parker who didn't like the lyrics to Parker's Mood, he didn't want to hear about his own funeral .....

Didn't this start it all?

This perspective has always ignited my fantasy:

Not only Blue Note:

If they are calling for so many musicians that have left us many years ago, does that mean they are looking for their heirs or does it show their total ignorance for musicians' biographies?

Now don't be a coward - start a new one! But leave off that one kind of "babes" - or post photos of your wives and girlfriends, then you at least know who has the copyright?!?

Let's give our best to keep it that way!

In a way he's one of the players I enjoy much more on other people's record dates. (Would make a nice topic - or isn't there one like it already?). He is a good bandleader, judging from the piccolo bass quartet and his later groups, but maybe not that great a conceptualist when it comes to planning an album. Maybe we are taking this all too serious. Remember that great humorous music made by a quartet of Eddie Harris, Cedar Walton, Ron Carter and Billy Higgins. Some of Carter's music sounds a little tongue-in-cheek, doesn't it? With a musician so successful, rumors about his personality are unavoidable. He's one of the greatest bassists in jazz after 1960, period. He has recorded more than enough music to justify this placement.

I have to correct myself: Even this is a real cover, scheduled for release in Europe on August 25. A collaboration with Playboy magazine. I can't believe it. There are two unissued Norah Jones tracks on it ..... I never thought they'd go that far, but will this be available in the US? A nude girl on the cover of a Blue Note record??? I still can't believe it. p.s. rumors have it there will be nude centerfolds of Cassandra Wilson, Norah Jones and Diane Reeves in the booklet .....

As far as I have observed, there are two aspects about his playing people object to: 1. his sound i.e. the way he uses the pickup 2. his intonation Both are closely related, I have the impression his sometimes sloppy sounding intonation is due to the fact that he turns up the treble so the attack of his notes comes though much clearer. As engineer Jim Anderson replied to me when I inquired about Carter's use of the pickup on the old BNBB "he wants to let people know where the beat is". His drive owes a lot to this sound. On the other hand it enhances the audibility of the "pickup sound". Without a pickup, his sound is much fuller, rounder and deeper, Johnny Griffin's Riverside LP "The Kerry Dancers" (now on OJC CD) and a 1980's session with pianist Michel Sardaby on the rare French label Harmonic are excellent examples. Because of that brightly colored pickup sound, the tonal center of his notes seems to be a little off pitch at times, but I'm sure he doesn't hear it that way directly at the instrument. Sometimes I think his IMHO overuse of the pickup was a major factor in leading the whole Marsalis generation to do away with the "dreaded bass direct". And some do not appreciate his tastes in music on his recordings as a leader. Well, some of it is a little too good-natured. I think among his best albums are: - his Atlantic/Embryo LP "Uptown Conversation" - The CTI LP "All Blues" with Joe Henderson (can't understand why for all reasons this still hasn't been on CD) - the Milestone "Piccolo" (it was a great band, I played this to death when was new) I haven't heard enough of his other Milestone and Blue Notes, but most of them is at least very nice.

Except for the really nude cover art girl, these are all real, anthologies issued by EMI in France I believe. Amazon in France carries them, they include some rare tracks. Go to Amazon France, type "blue note divers" into the search field, and you will get most of them.

B3-er's response was very appropriate. My comments: 1 - is it really that necessary to post babes on this (mainly) jazz forum (of course I'm aware I participated - ) 2- if they don't want their photos to be linked, why don't they block it, as B3-er said - these web programmers are real pros 3 - if they (or anyone else) doesn't want a photo to be spread on the web, please consider not putting it there! When I put something on the web, I HAVE to be aware i might get copied and posted somewhere, that's what the web is made for, spreading information! 4 - conventional copyright laws where invented for printed media and have to be reworked or better reconsidered for application on web publishing. 5 - laywers must eat.....

Had to think about it for a while ... Since this is the only Blue Note LP I bought twice just to frame the cover- it still hangs at the wall behind me as I write this - I guess this is my all time favourite Blue Note LP cover: