mikeweil

yeah! cut it out willya! Severe case of deprivation you caused!

C'mon guys, you make me feel like I missed somethin' like man's first step on the moon .... While you were busy watching and posting here I was in the basement, cleaning up my rehearsal room, setting up and adjusting my drumset, repairing the P.A., just like a working citizen is supposed to do, and YOU???!!! Now who did it? B)

Yes, it has to do with the Kansas City influence he always admitted. Sonny Stitt's "Stitt Plays Bird" is another great example of his comping style. I often find it amazing that academically trained players like John Lewis and Herbie Hancock have these deep rhythmical conceptions going on.

Can't wait to hear the breakdown takes!

Sample pages

Kubik, Gerhard: Africa and the Blues. Jackson, Mississippi: University Press of Mississippi: 1999 ISBN 1-57806-145-8 or 1-57806-146-6 Has anyone here read this book? He presents a new perspective on the Blues based on his research on Agrican Music, deducting the specific blues tonality from African pentatonic scales confronted with Western intsrument tunings and scales. I find his thesis much more convincing than other blues "theories" especially by German scholar Carlo Bohländer.

Lemme quote from Clarece Major's "Juba to Jive - A Dictionary of African-American Slang": COOL: "gone out" (Mandingo); fast (Mandingo). The number of expression going back to African languages, especially Mandingo and Wolof, is amazing: Jive Hip or Hep Dig Okay Jazz and countless others ...

Not only that, he was the incarnation of coolness! The inventor of being cool. The opening scene of "Jammin' the Blues" where you realize it is his hat you've been viewing from the top only after he lifts his head, and the way he sits on his stool and plays his saxophone - that's as cool as can be! And the contrast to "hot" Illinois Jacquet, after he played his coolly swinging solo ...

Forgot to say this is an African musical device, having two or more level of elementary pulsation going on at the same time, and keeping it ambiguous. Ethnomusicologist Gerhard Kubik, who developped this terminology and did some essential research on this - I highly recommend his recent book "Africa and the Blues" - talked about multi-beat structures and the like. I think, the African influence in jazz is generally underestimated - there is much more African musical thinking in jazz than most fans dream of.

When I think a little more about it: You ever heard the MJQ's "Plastic Dreams"? The second track, "Dancing", has John Lewis playing riffs all the time behind Bags' solo and in his own solo that would suit a Kansas City Jump band as nicely as the JB's, Percy Heath plays as funky as can be, and Connie Kay does some amazing things that could be played by some funk drummer with a different sound to great effect. If you change one aspect: the volume, the instrumental color or whatever, it sounds fresh, although the patterns may remain indentical. Entirely different mathod from simply changing the tempo or style in which you play a tune, more subtlety. Jimmy Smith's trio was subtle soul jazz.

To quote from German's national poet, Goethe: "Die Schönheit liegt im Auge des Betrachters". Literally translated: The beauty is in the spectator's eye. The "connection" is in the listener's ear, if we hear it that way, or that of the musicians, when he/she creates things this way, or both. We should ask Bailey if he had such an idea before it's too late. That's a very very loose and experienced player with some very original concepts. Afraid of absolutely nothing.

Just an idea: What would you think about a list of all "used" tracks in alphabetical order by performer's last name? (gotta start this as long as it's easy ...) This would help to avoid duplications. I would post this in the Test Master Thread.

Done!

Some Basie 1969/1970 albums: Standing Ovation, Dot - rec. January 1969 Evergreens, Groove Merchant - rec. October 1969 Basie on the Beatles, Happy Tiger - rec. December 1969 High Voltage, MPS - rec. February 1970 Afrique, Flying Dutchman - rec. December 1970 I know only the first of these, a nice live album, deserves a completed reissue.

No, but you can register for an e-mail newsletter informing you about upcoming Norah Jones reissues. US Mail seems to be incredibly slow: my brochure arrived here a week ago!

They did a CD reissue (double disc) of this, but it is OOP. Very nice.

I'll get me these three, for sure: Clark Terry & Chico O'Farrill - Spanish Rice (LPR) - Reissue - Impulse! Records Gloria Coleman - Soul Sisters (LPR) - Reissue - Impulse! Records Yusef Lateef - The Golden Flute (LPR) - Reissue - Impulse! Records Been waiting for the Lateefs for years! How's the Mel Brown? And the Johnny Frigo?

None of this exists, I'm afraid, but German pianist Wolfgang Dauner in the liner of one of his early LPs wished for Vinyl where 1. the stylus elicits various odours during playback 2. the record destroys itself at the end (that was before Mission Impossible?) 3. the groove always starts the same way, but ends variably don't remember the other ideas ....

Page 346. I should have mentioned I have only the old 1972 edition which ends at page 339 ...

ALL of Michelangelo Antonioni's films; and those of the Taviani brothers (only very few of them out on DVD so far).

Got some rare unavailable stuff from him, what's happened to him?

Thanx y'all, you make me feel quite normal. Surfing the web (now I know which page to hit first here), EATING !!!! - can't watch TV, 'cause usually my wife has fallen asleep in front of the telly and wakes up as soon I switch programs. I'm afraid to reduce my waistband I'd have to stop gigging, no money, no food ....

It was, and it was one of Vernel Fournier's last sessions, too.

Well, I don't know. What I hear is that he places accents on a straight pulsation rather than the ternary pulsation the ride cymbal pattern or "swing" is usually associated with. That makes a nice rhythmic tension - Vernel Fournier did similar things, and he had a lot of experience with blues and r&b bands - don't know if this goes for Bailey as well: hard to say what was there first. It's very subtle; Bailey is a drummer genius, IMO. And JB played a lot of stuff with a ternary pulsation in the beginning, those shuffle beats and some jazzy stuff - I think it's the juxtaposition of binary and ternary pulsation that funks it up, either way.