mikeweil

Indecision, that term describes it very nicely, at least what I hear with my non-saxophonistic ears. And perhaps some moment of not feeling entirely comfortable in the musical context or groove, like on Wabash from the Cannonball Adderley Quintet in Chicago album. Even when he experimented with new stuff, he did it in a highly professional fashion.

You sure the 50 years copyright regulation applies to films too? No matter how it is, they may have their reasons for not shouting it out, but apart from this I have the impression they hand out only few review copies and I never saw an ad for their new releases in any of the German magazines, only by one of their distributors. Could it be they don't want to wake up some sleeping giant? (If so, we better restrict ourselves to promoting this by PM!)

John, I think I understand what you wanna say, they have some things in common, including the same producer and record label for a period, but I see some fundamental difference: Where Eddie was willing and able to have fun even with the deepest roots of his heritage, Rahsaan was always trying to make sure everyone got his due credit for his achievements - Eddie didn't give a damn. He did his thing. Rahsaan was sufferin', for long periods of his life, and made it a theme of some of his music. Eddie made fun even of his sufferin, the look into the mirror who never would have stepped into the trap of taking life too seriously. Rahsaan was taken all of this very seriously, fighting for the recognition of his musical predecessors and peers, and his people, for all of his life. And if you fight, you get some blows in return. They're part of the same generation, for sure. I hope you get the idea of what I wanna say.

socks? thanks Mike, that was real... erm... expressive writing. Just kidding! There was nothing (bad) to be smelled, but I wanted to give an impression how close I was. I had better stayed away, 'cause he was still sufferin' from a bad cold he had caught in the Netherlands the days before.

I'd rather see some complete club dates reissued, including the X-rated talking, if Atlantic still has the tapes.

Yeah! (You did it again, Jim!) Well said! I'll always love him, too, and I'm so glad I saw him live sitting in the front row of a very small club. I could smell ........ anyway, he was a true original, and he recorded enough "serious" jazz for anyone, IMO. We shared some laughs on that "comedy" album, I'll have to visit you some day if only to get some of it explained !

Anything you can do .....

Maybe Cannonball was involved? He "discovered" Clay for Riverside, he had produced "Sound of the Wide Open Spaces", and Clay's second Riverside LP "Double Dose of Soul" with Nat Adderley and Gene Harris alongside Feldman, Jones and Hayes who are on Wes' LP (October 12), was recorded the preceding day, October 11, 1960. Cannonball's Lighthouse live album was done October 16, and there were sessions by Dexter Gorden, Lenny McBrowne and Bev Kelly in between - one of Keepnews' busy production trips to California. He used to book the same players for more than one session, to mutual advantage.

No use, you'll never catch up!

Of course that makes a difference. Under that aspect your choices are excellent, aiming at a reading audience that knows not much beyond the great names. I'll read them again more carefully, and give you feedback later.

Yes, why not? Go ahead! Curious about your next choices. I have to admit I expected even rarer albums.

Ubu, the link is right there! Problem solved?

But only the sound!!! Eddie's choice of notes is entirely different from Getz'!!! That quote is very very fitting! He uses that "cool" sound but the "hot" phrasing of the advanced hard bop school. There is no other cat who could have written Freedom Jazz Dance or Mean Greens! This is some phrasing even different from Rollins or Trane. I hear a parallel to Lucky Thompson, who managed to cross the rhapsodic attitude of Hawkins with the fluidity of Don Byas and the lightness of Lester Young. Very individual mixtures of influences!

Re the alternate takes: With Wes they always merit attention, beacuse he never played the same solo twice or in a similar fashion - in the case of this album this is diminished a little bit as he does not use his chord or octave technique on that bass guitar, to hear him solo in a linear fashion all the way is unusual. on his regular guitar he always mixed single note, chordal and octave playing to achieve more variety. And that bass guitar's sound is less warm, almost as if he had used a pick - which he didn't, it is the sound of that axe. Considering how long he worked on his sound, he probably wasn't that satisfied with the guitar sound here, but studio time was running out and two dates for one LP was luxury for Riverside ... Keepnews may have insisted on settling for the given results, as Wes had a reputation of being perfectionist. It is an experiment, and the results are okay for a star soloist with a frontline partner and a rhythm section that were not his regular working band. Well, he was familiat with Jones and Hayes from previous dates, but still....

AFAIK Eddie started as a pianist/vocalist and vibes player - I heard him play some mean bluesy piano live a few years before he died, he was a real down home earthy player and had a wild imagination as well. He made his professional debut as a pianist in the Gene Ammons band. He is quoted on the liner for "The Tender Storm: "I like Miles for choice of notes, Milt Jackson for feeling, Stan Getz for timbre and sound, Charlie Parker and Clifford Brown for smoothness and articulation, Rollins and Coltrane for their skips and intervals." Nuff said!

I too think that re-establishing the Windows/IE default settings may help. Brownie described the way to go. You can enable everything, then deactivate one by one to find out how far you can go. Or if you use a firewall, check the programs allowed or blocked for internet. Or download and use OPERA, like we clever cats do ... much easier to change settings in OPERA.

I suspect a bootleg. Noal Cohen's Frank Strozier Discography doesn't have it, and at least the recording date of 1984 is very unlikely. The applause couild be faked. Can you post track timings, solo order etc, then I could compare to the Affinity LP. Body and Soul and Dolphin Street were on that LP.

It's a shame there are so few of his albums available. I haven't many, but all are great: A rare solo piano LP on the German L+R label, Piano Soliloquy The New York Jazz Quartet in Japan (there are two different albums on CTI/Slavation), each has a precious piano solo Perugia is great! ... and his very unorthodox playing in the Thad Jones / Mel Lewis band gets me every time!

Sorry I'm so late, but info like this is never too late (Atlantic except as noted): Excursions is a great collection of leftovers from his recording sessions for Atlantic, ranging from straightahead stuff with Cedar Walton, Ron Carter & Billy Higgins (what a magnificent quartet, BTW), over the quartet with Jodie Christian to later stuff of the band with Rufus Reid and Ronald Muldrow. No duplications with other albums and a great overview of the styles he covered during his tenure with Atlantic. The Lost album contains music unissued on VeeJay at the time, including a rare session with melvin Rhyne. Haven't heard it, but have to get this for sure. Plug me in etc. is one studio and one live album (both rather short) from his funky "Listen Here" period - groovy and humorous. In the UK is his date with British Blues & Rock musicians, haven't heard it, Is It In is one of my secret favourites, some of the weidest groove music you will ever here, electric bongos, a put-on of warfare in the jungle .... if you dig Eddie's humour ... I do! House Party Blues is priceless! Newport is not so deep, sound is only acceptable. Instant Death is a wide ranging affair with Muhal Richard Abrams (!), Muldrow, Reid, Billy James and Chicago master percussionist Henry Gibson. Very groovy and some more wild humour. Bad Luck etc. is later Atlantic funky stuff with his satiric sprechgesang, I'd say only for Eddie addicts ... Free Speech is Eddie's take on the Bitches Brew influence, with some great Jodie Christian on Rhodes piano, one of my favourites. Overweight is from the Bad Luck period. Versatile is a solo album with overdubs by Eddie on piano (he is an excellent pianist with plenty of blues feeling!), Sings the Blues has Eddie singing through his electric sax, among others, the band with Abrams etc. If you like Eddie, you'll dig them all, I'm afraid ...

Jackie McLean - always one step beyond ...

Wes Montgomery - you'll never get to see even the back of the cards behind his blurring thumb.

Thanx! I'll watch my mailbox!

Oscar Peterson - too fast for ya!

Philly Joe Jones - would always spoil your concentration with a Bela Lugosi imitation at the right time!