mikeweil

I've always dug the list of great jazz drummers Dan Morgenstern compiled in his liner notes to a DRG/Swing Kenny Clarke reissue, and would like to use it as the basis of this list (maybe other board members can do this for other instruments?): Sonny Greer (1895-1982) Baby Dodds (1898-1959) Zutty Singleton (1898-1975) Chick Webb (1902-1939) Walter Johnson (1904-1977) Dave Tough (1907-1948) Cozy Cole (1909-1981) Gene Krupa (1909-1973) Jimmy Crawford (1910-1980) Big Sid Catlett (1910-1951) Jo Jones (1911-1985) Kenny Clarke (1914-1985) Buddy Rich (1917-1987) Denzil Best (1917-1965) Art Blakey (1919-1991) Shadow Wilson (1919-1959) Shelly Manne (1920-1984) Philly Joe Jones (1923-1985) *Louie Bellson (1924- Tiny Kahn (1924-1953) *Max Roach (1925- *Roy Haynes (1926- *Elvin Jones (1927- Ed Blackwell (1927- Mel Lewis (1929- Alan Dawson (1929- Billy Higgins (1936- *Andrew Cyrille (1939- *Jack deJohnette (1942- *Al Foster (1944- Tony Williams (1945-1997) This is a list of drummers that were innovative, influential and original, or all of this. Who else do you think belongs on this list? (Any corrections on years of birth or death are welcome!)

I think Rich always lacked elegance and elasticity, not only on this date. He swings and is technically competent, but he never had that smoothness I admire in the playing of most African-American drummers, and the best whites - Louie Bellson had it, as well as the same technical prowess as Rich.

Barrett Deems is still active as well.

I added Buddy de Franco and Don Lamond (R.I.P.) - please correct me if i missed anyone's passing that I marked as still among us.

I saw the Headhunters live in 1974, Hancock, Bennie Maupin, Paul Jackson, Mike Clark and Bill Summers, and they were smokin'!!! The only recording giving a hint at what they were capable of is the Japanese twofer Flood.

Thanks for the recommendations Jim - I really appreciate that. Have a nice and peaceful time!

Great photo, say it all .... I used to hate electric bass because I didn't like Jaco. I can appreciate what he's doing and what's so great about it, but didn't like his stage personality and the sound, rather some bass guitar than a bass. But I had to work with electric bass guitarists all the time, still do, and some of them are bad mofos. It all depends on the player what he makes out of the instrument, as long as he blends well with the ensemble and has a nice sound, it's alright with me. On record, I liked James Genus' playing electric on one of Steve Masakovski's Blue Note CDs, and much of Jerry Jemmott or Chuck Rainey. There are great and bad players on every instrument! On a bottom line I still prefer the woody sound of an unamplified double bass .....

He was one the oldest living active jazz veterans and a very good drummer. I liked his playing. R.I.P.

That's the way great spirits should treat each other, isn't it? I really dig the way he opened up to Monk's musical world.

I'm glad I did before my mother died just four weeks ago. And now my wife's mother is hospitalized with cancer, things do not look good ... this was a hard year, and we need some rest, emotionally as well as financially, so we stay home, have dinner with some friends ..... merry Xmas to y'all!

This is the website they print on their discs: http://www.timcompany.com/ This will not be displayed on my computer screen, no matter whatbrowser I use ... any among you that was more successfull? The logo on the box sets and the Candid reissues seems identical to me.

I should have formulated my criticism more precisely - I see it much the same way you do, but still wouldn't have played it that way. Too little elegance in that attention-catching first drum break. When I imagine the way Mel Lewis would have handled this ... but I gues a young Chico HAD to play it that way. And from the third break on everything is just great - he just had to release some ... err pressure.

It isn't just you Jim, I have to disagree with you on that ... I agree on your observations about sex and marriage and accumulating experience, and see a parallel between these processes in life and in music - I mean, listening to your fellow musicians is just as essential as listening to your wife ... You have to listen closely, and again and again, and maybe some day you will get it (or get in line ), but only after listening and even trying to appreciate things you don't like on first listen - but I think that's what divides a musician from a fan. (No depriciation of fandom intended.) I can communicate observations like these about Riddle's arranging skills to (some of) my fellow musicians, but my friends just won't get it. To get to the point, although I kind of dislike Sinatra's voice, what Sinatra/Riddle compilation would you recommend to me, Jim?

Very very sad news indeed. Koller was one of the greatest and most original European jazz musicians in the 20th century - and an interesting painter as well. That Jazz Realities CD couw recommended is a treat. I always loved the Vienna Blues pictured above, got the MPS "Exclusiv" only last week - this is simply a year that's almost too hard to endure. So many greats that we lost. RIP Hans, you're having a great jam session with Prez, Stan, Bill Perkins and all the "brothers", I'm sure!

Sure I would, but haven't heard this! Most of the South African jazz musicians I heard were fine, though, my favourite being Hugh Masekela's Blue Thumb double LP with Dudu Pukwana, Larry Willis, Eddie Gomez and Makaya Ntshoko.

Yeah!!! We have a proverb in German: One's owl is the other's nightingale ...

I guess that really makes a very bif difference. I know much of Vitous' work and, most importantly, his Infinite Search debut album to which it refers, and that one WAS fireworks. Check it out if you can!

As they are operating in Japan as well and use material too recent to be public domain under European copyright laws they got to be legit, I reckon. Send an e-mail to Candid and ask them.

Of all new releases during this year 2003, which was the most disappointing in your opinion, did not live up to the expectations you had before buying etc. My choice would be Miroslav Vitous: Universal Syncopations - not a bad record, but not the fireworks these masters are capable of.

You may be right. Still sounds like a missed opportunity to me. My choice for most disappointing release in 2003.

Of course, that's much more convenient than picking up the pieces all over the thread! Great comments!

I'd really like to learn more about that David Seville ..... Silver it is, on second attempt I was convinced, the only Silver album I never heard - hats off for picking this one! At least I nailed Woody Herman. But Ferguson?! Nice to hear that he can do like this as well! My respect!

Sometimes they run out of stock. Your observations about deleted titles from the non-OJC-catalogue is correct; some day they turn up in the OJC series, If we're lucky.

Is it made from aluminum or brass (chrome plated, I assume from the photo), and what is the head's diameter? If you give me that info I could tell you wether the price is okay. This drum is called dumbeg or dümbeg in Turkey; darbuka or darabukka is the name in other middle eastern/arabian countries, except for Egypt, where it is called tablah (not to be confused with the Indian drum pair - tablah or tabl is the general term for drum in Arabic, and this is how the Indian drum got it's name, because it was a drum brought to India in the wake of Muslim dynasties). The Turkish model is made from aluminum or brass and chrome plated; originally is was made from clay and covered with a fishskin head (some species that only lives in the Nile), cheaper models use goatskin. Professional darbukkas for Arabian classical music are still made from clay. The modern belly dance type darbukkas are made from a special heavy duty cast aluminum. Yours is the Turkish type, probably aluminum. If it's brass you can see this on the inside of the shell, where the chrome plating stops. If it is lightweight and the metal looks the same inside/outside, it's aluminum.

http://www.cadillacjazz.co.uk/