mikeweil

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The times vary, but I'm getting to bed way too late, and I'm getting up way too early. ALWAYS too late!

That is what it looks like, and that's what it is for sure! A little less R&B than the Blue Notes, but still some touches of it.

Do you happen to know the story why it was stored away?

Congrats! Despite the fact that the booklet will soon fall apart, this is one great set!

I got me a sealed copy of the Duke Ellington Centennial 24-CD box set on ebay Germany for 75 EUROS! That was a great steal for me!

I'm afraid the unedited first edition is extremely rare - I'm sure Michael Cuscuna would have used a copy to edit in the missing portions or included them as bonus tracks, if would have been able to find one. I suggest you contact him regarding this.

Unfortunately you're right. I'm afraid when the James Joyce of Jive, Jon Hendricks, will have left us, there will be nobody to fill the big gap he will leave - noone was as good as he at writing lyrics to improvised solos, and most younger singers don't seem to be interested in this technique.

If it was still available, I'd buy the EmArcy box - back then it was beyond me. "I've got a date with the blues" alone would have been worth the price, there was a single CD issue of this that I also missed. Too bad!!! The Getz is fine, one of the albums where Helen's humour is displayed to great effect - they must have had a hell of a time in the studio!

I found that on ebay Germany last year, was the only bidder and got it very cheap! Verrrry nice! He has a warm voice, and a sackful of stories to tell. About Mingus, the Hamilton Quintet, the West Coast Scene .... My only complaint is that these beautiful snippets of unaccompanied horn playing he does between the storytelling are too short and too few. A great piece of oral history, there should be more like this, but I'm afraid sales figures would be even lower than for jazz books ...

Sometimes it helps me to kick a tune around in my head without writing it down until I have the complete arrangement, not just an idea on music paper. Just like I would have to learn without sheet music. If it's rounded so well that you can memorize it, it will be okay and have its own inner logic.

Richard Wyands is very, very good - I would rank him up there with Cedar Walton and the like. He has grown to be one of the best "modern classic" pianists on the scene without the general jazz public noticing. One of the last of the musicians born in the 1920's that are still alive and kicking. I think his latest recording issued was with Jimmy Cobb's Mob on Milestone. I have a Benny Carter Quartet CD on MusicMasters where he displays all of his mastery. He certainly deserves more credit. On a list of great musicians who never recorded for Blue Note, he would rank high

It was on October 12, 1978, in Frankfurt at the old Sinkkasten, nice but smoky cellar club, a legend of this region. (I used to keep records about the concerts I attended at the time, and luckily I still have them securely filed away ...) Forgot to mention tubist Bob Stewart, I can still visualize him taking VERY DEEP breaths before uttering low register glissandos sounding like satisfied moans of a gigantic elephant. I think I have to get me that CD: what is the issue with the most tunes on it, please? Gerry Niewood ... I was surprised to see him with Evans. I still have a nice LP of his, on A&M Horizon (Gerry Niewood & Timepiece), with David Samuels among the sidemen, recorded in 1976, that doesn't tell much about him. His biography on AMG says it all. Better player than his career might suggest.

Forgot to mention: they are not identical. Four more Pettiford tracks in my collection!

I have that on a Japanese CD (have ordered the Mosaic a few days ago) and find it beautiful. Leo Wright's intonation is not the purest, but so was Jackie McLean's - Leo was a man of his own, and he wouldn't have landed a secure post in one of Germany's best radio big bands (RIAS Berlin) for many years if was an second class player. I have heard him play better than on this album, but the main reason for not releasing it was Mitchell and Junior Cook having their own regular band after Silver disbanded, and Lion preferred promoting working bands with his releases.

I can't help but add that all of these issues probably still credit the tune to Miles Davis - I see his name on the O'Day cover - but it was in fact written by Eddie Vinson, as was "Tune Up".

Strange. Bruyninckx lists 8 tracks for the Herald LP, and a recording date ca. 1961, excluding that it might have been a 10" LP fitting on one side of a 12" LP. Perhaps some tapes are missing or the artist wants to keep some tracks off the new release. Or licensing problems?

... and judging from the line you quoted in your post, these are Jon Hendricks' lyrics Joe Lee Wilson sings.

I remember seeing plenty of the white in his eyes when he was in Frankfurt with a down-sized Gil Evans Orchestra. He and bassist Donald Pate were late for the gig, Peter Levin downtuned his synth to play bass until they arrived. Gil sat happily hammering chords as the band rocked through his tunes, with his back to the band - there was no way to turn the piano around on that small club stage - and Lew Soloff and Terumasa Hino were almost playing as many jokes as they were playing notes, while Gerry Niewood played his heart and soul out. Robert Crowder handled the drums. A mildly weird gig! Very unorthodox!

I got a double DVD from Fresh Sound/Blue Moon a few days ago, "The Greatest Jazz Films Ever", very fast delivery, and in a registered letter with no extra postage cost! To have all of Lester Youngs films on two discs is a good deal. The visual quality of the JATP film is excellent. They edited the "Jazz from Studio '61" to have two numbers each by the Jamal and Webster Groups without interruption, but I liked the film as originally edited better.

Who said that?!? Everything I know about Pierre Sprey's approach to recording tells of his devotion to the music and his efforts to make it heard without any sound manipulation! The musicians play what they want on his sessions. And it's real jazz, not some fancy stuff tailored to appeal to high-end listeners. Because they are hard core jazz his CDs are underrepresented in HiFi shops, at least over here. And the equipment he uses is simplistic and sophisticated at the same time. I have the Ran Blake with Jordan and find it musically great and great sounding at the same time. For what other label could he have recorded this music? I'm looking forward to getting his other Mapleshade discs.

Yeah, how about this, I'd have some thoughts to post about this too!

You gotta "free" Dolly Parton first - or at least a part on her.

Another vote for a Tony Scott RCA Mosaic! There was so much interesting music made between 1945 and 1955! The Roger Kellaway Cello Quartet was on A&M - have the LP. Its is pretty "classicistical", no drums, and Emil Richards' percussion has a very subdued part to play. The cellist plays arco most of the time in a pretty classical attitude with a wide vibrato. I keep the disc, but it's an acquired taste. I suggest you have a listen if you can.

I use the Bruyninckx Discography.