mikeweil

Thelonious Monk - no way to stand these long hard looks ...

Charlie Parker - by no means you could take his sax in case you win!

Start here!

Jim Sangrey posted some of these as a result of the "pokerface joke" regarding his reaction to his own track in the BT # 5. Here they are: My own modest contribution: The stage is yours ...

Back to Blindfold Business .... I re-listened to Jim's track with the knowledge in mind it's him, and I'm really glad I didn't say anything negative about it in the first place - I really like it, that really personal expressiveness that's in it, it's honest and sincere, and that's a lot more than many musicians can claim for themselves. In fact, that's what I'm looking for in any type of music, above everything else. Technical prowess leaves me cold. I reckon your modesty enforced the remark about disqualifying yourself - c'mon, it's really not that bad ... Will you send me a PM where to send how many bucks to get your two CDs, please?

Dizzy Gillespie - or you'll get to know the truth about how his trumpet was bent.

I researched my own Lucky Thompson discography and really can recommend ANYTHING he recorded after 1950, not one bad solo among them. I will send the disco to anybody sending me a PM or an e-mail with a valid mail adress, I think I have all the recent releases covered, although there still may be some minor inaccuracies. The two Vogue CDs are already OOP, I'm afraid. But I'll take the time over the next few days and post a list of recent CD's in the Lucky Thompson thread and post a link here. ubu, you have the Impulse CD with Pettiford?

p.s. PLEASE give a sample of "etc."!!!

Fortune replaced Bobby Capers in Mongo's band, with Bobby Porcelli steeping in for one album in between, and he was a killer with that band. He's top on the live tracks on that CD Afro American Latin, his own tune "Philadelphia" has a stonehard back beat, and he screams on top of all others. This is a CD representative of all of the facets of Mongo's repertoire back then, and Fortune was an important member - he was the soloist on Mongo's electrifying version of "Cloud Nine" on the Stone Soul album, which was recorded a few weeks later. Soul and back beats, boleros, mambos, sacred Cuban drums - it's all on that CD.

Talk about some drum-centric hits victim...

Of course, forgot about that, I had these as LPs, except for Merry-Go-Round, and this has Corea and Hammer alternating, and Yoshiako Masuo on guitar. Sold them to get the money for the Mosaic, which I still have to order - the Blue Mitchell claimed priority - and before that, the Giuiffre, the Hamilton !!!

Well, Jim, that's your way of saying it from a tenorist's view! Just what I tried to say.

No doubt, since Farrell was also a very busy session musician during the same time. That's the very nature of that beast. Aw my gawd - I do not visit this board for one day and there's a helluva discussion going on! There's so much to say about this Great BT disc that I hardly know where tp start, so I pick up where Jim has left the ball: Farrell and Coleman and all the other saxists Jones employed for his Blue Note dates. I think it is not just Farrell adapting, but the spirit of Trane hovering over the Jones Bands of the time. All of the tenor players on Jones Blue Notes showed even more Coltrane influences than outside of that band, as if they felt they had to at least partially step into his shoes, and since there were two of them on many an album, the company of a colleague doing this reinforced the Trane Traits (now how's this for a song title?) in each of them: Joe Farrell, Frank Foster, George Coleman, Dave Liebman, Steve Grossman - Joe Berendt said in his Jazz Book the latter two played Coltrane x 2 in the Jones band - one of the few instances where I think he got the idea. If you listen to Coleman on the Jones session with Lee Morgan as the only other horn, he's a lot more like his typical self there - he had just joined the band as the second horn, before that is was the trio with Farrell and Garrison, whose death may have unvoluntarily enforced the change in concept. I always thought that, although I had the Mr. Jones album with this track, which has no liner notes at all, just personnel listings, the first soloist was Farrell followed by Coleman - you have this on many of these sessions that the change goes almost unnoticed because they play off of each other so much. There's only two occasions where Jones employed a piano and/or guitar player for his Blue Notes, on the later sessions that were on the Mr. Jones album (I would really like to know the reason why they reissued the title track, perhaps to lack of enough material - this was released after the Lighthouse sessions, which were recorded only later) and on the vault issue The Prime Element, although there is a live album with Gene Perla, Frank Foster, Joe Farrell and Chick Corea recorded September, 1971. Jan Hammer was the pianist in both cases, and he does not appear "pianistic" with his very lean sound and conept. The focus on all these sessions is on horns and rhythm - Jones chose a very clearly playing conga drummer with rock-solid timing and clear, loud sound in Cándido Caméro. There is one moment on "5/4 Thing" on the Coalition LP, where Jones play with an almost arhythmic quality over Cándido's solid beat. The liner notes on the twofer The Prime Element had some fitting remarks on this. The title track has Elvin soloing in a similar fashion over a complex African multi-beat drum ensemble - but he is with them all the time, as his rhythmical cue for the next part is absolutely on time. Many find the hand drums a little to very much obtrusive - but that underpins my observations about the problems in perceiving the African part of the musical heritage that is called jazz. These Blue Notes were to Jones what the Orgy in Rhythms etc. albums were to Blakey - an exploration of a heritage, not just the use of some latin inflections. Remember Coltrane was on that path when he died? Perhaps I should start a thread on the Elvin Jones Blue Note sessions. I think they are largely underrated.

http://www.abar.net/ is a great site for all Stuff Smith lovers and jazz violin fans, BTW.

I think in this case the Kelly/Chambers VeeJay Mosaic will give you the best sound, and all the alternates are worth attention, great rhythm teams throughout.

They have such a crappy website, and such a strang reissue policy... You're right - only later I noticed that it's not updated and none of the Muse reissues is listed. To use the search function of some online shop will get one better results, I guess ... But the strange reissue policy is common to almost all labels with a jazz vault at this point in time .

I have the box set and nothing to complain about the sound!

Perhaps this page or another on the Sibelius Help Center will get you what you want - there's a font download link down the page.

Try this singer for an original - different style, but great, and has paid her dues.

The more I think about it, the more I like the idea. I'm not keen on country or Rap of Hip hop either, but would perhaps listen to some essential item from this style. One of the reasons keeping me from participating in the AOW forum on a regular basis was the weekly rhythm - I found it too fast a pace to keep up. But I guess it is possible to participate on a deliberate basis as well.

There is a CD Tumbao TCD-010: "El Barbaro del Ritmo". Mambos by Beny Moré with Perez Prado and his Orchestra. Tracklist can be found on the BlueMoon website. This is not in the aforementioned box set and recommended. Without Blue Moon's Tumbao series, most of this music would be unavailable or only in inferior editions. They do a fine job with this! The Arsenio Rodríguez CDs are indispensable!

If my Czech dictionary serves me right, it is an acid jazz gig at a club called Organizzmo ( ) promising an "unusual musical experience" .... on some May 17. There are double bass and synth accompanying. You goin' ?

Doh! I had that issue for a while and didn't notice. You sure? You still have it? But as I said the "Deep Passion" on the Pettiford album is a different tune and definitely not based on "Body and Soul".

Deep Passion was on the first of Lucky's two LPs for ABC, recorded in January 1956. Both LPs are complete on an OOP Impulse CD titled "Tricotism", # 11352. But if you listen to "Deep Passion" you are really listening to the track "A Lady's Vanity", as both titles (or more) were confused on these albums and subsequent issues. There is another version with Lucky on an ABC LP by the Oscar Pettiford Orchestra, reissued on the OOP Impulse CD # 11432 which verifies this. So to listen to the real "Deep Passion" on the Lucky album you have to click on "Vanity". "Deep Passion" is a Thompson original, while "Vanity" is an improvisation on the changes of "Body and Soul".

Count me in with lots of suggestions!