mikeweil

Is that really a problem? I thought the brewery was round the corner?

You're welcome here too - in fact anybody from the board passing through the Rhein-Main area is!

Since there are no objections so far, I'll put Jim Dye on the list for # 8 and put everybody else down one step - I wonder why he hasn't been on the list. Jim, you ready?

I am asking myself the same question right now! Very sorry Dan, I must have been out of my mind and totally misread your post! Please accept my apologies! Reading the board and posting late at night can yield some weird results ... my only excuse is that it's not my native language.

Since you did # 2, Dan, I'd say we rather let one do # 8 who hasn't already done a BT. What do the other testi.... err test participants say?

Now whose previous incarnation is this?

Same here in Germany. They start charging VAT and stuff at much lower levels than a few years ago. Those were the days ... at least the EURO is high at the time. My next purchase will be the Mobley Blue Notes.

I hesitated so long before buying this one, and it's so much better than I thought!

Keynote was a small label existing from 1940 to 1948, run first by Harry Lim until 1947, then by John Hammond. Almost every important swing musician recorded for this label, making it a treasure of small group swing. It is now owned by Universal. There was a 10-volume series with highlights from its catalogue with discs featuring Lester Young, Coleman Hawkins, Roy Eldridge, Benny Carter, musicians from the Ellington and Herman orchestras, Lennie Tristano, you name it. There was a complete edition on a multi-LP box set in Japan in the 1980's.

Of course it hurts, Jim, because his and the AEOC's is music we grew up with, that put an imprint on us in our formative years as young exploring musicians, musically, emotionally, as role models: They lived something we were striving for. And they encouraged us to follow our own path. This applies to Malachi Favors, Joe Henderson, Bill Perkins, John Lewis. It is the generation of our musical fathers that slowly passes, one after another, and leaves us to carry the torch. It moves me just as much when one of these musicians leaves us as if he was a family member - we are a spiritual family, after all. Thanks, Malachi, for holding it up so long, and may you rest in peace. I never saw him nor the AEOC live, just Bowie with Jack deJohnette's Directions, but his bass sound lingers in my memory, although I haven't listened to their music in a long time. Thanks for influential encouragement, this was and is important music.

Thumbs and Heads Up! You're doing a great job teaching your dad - honestly! Best wishes for your mom!

This sounds like a lost opportunity, Jim! Why not let them try it! Or - as I'm not always totally happy about Mehldau on these, myself: how about NO piano and add Attila Zoller on guitar? I know this cannot be done... (funny enough AMG notes him having died IN Vermont, so noone had to move him there...) ubu Having Zoller would have been a repetition or reunion of some earlier date, or at least a similarity. I find it principally very interesting to have players of differing age on such a date. With Bley and Haden there would have been two old buddies from the L.A. free jazz poineering days, but I agree this choice looks intriguing. Did Konitz and Bley ever record together? If so, was it successful? That would be something to buy! Is there any pianist under 35 that plays more sparingly like Bley does? I'm afraid not.

Very interesting thought! And the comparison with romantic painting made me think of works that mirror what I hear in late Coltrane: Prometheus, by Johann Heinrich Fuessli - perhaps a Swiss painter will make it easier for ubu And, of course, for the sublime: Go on an image search "William Blake" and you'll see ...

To listen more closely, and with my collection in mind, that's my lesson, too. I have been cutting down on jazz in recent years because I listened to much classical and latin and ethnic music, but to keep with these tests I have to accept the challenge of changing my listening habits once more. I have been listening to jazz now for as many years as you are on this earth, and this sh.. happens to me! Vibraphonists will be playing doorbells in my ears now until eternity!!! And yes, that double bass bowing technique is from classical music. That's agreat arranger who can make such a small band sound much larger. Right now I marvel at Duke Pearson's writing for Blue Mitchell's Blue Note sessions, where he make 4 or 5 horns sound like a big band!

Jim Dye was not on the Master List so far. But if he can fill the gap, which would be convenient for Daniel A, I have no objections. Any volunteers are welcome. We should keep in mind that things like this can happen any time, so we should have our playlists ready a step or two in advance!

I have updated the Master List: Man with the Golden Arm is now at # 7. Jim Dye, do you want to take position # 8 to keep Daniel at # 9? I would edit the list as soon as you let me know.

Germany's Jazz Podium magazine has a well-written obituary in the February 2004 issue, suggesting that he died lonely and rather withdrawn from most people. His last recording from 1991 at the occasion of his 70th birthday is his legacy, I can recommend it:

I was positively surprised by these. What would have been the pianist of your choice, folks?

The one I enjoy the most is a little older: Geoff Keezer's "Here And Now" from 1990. Among the never ones: Steve Masokowski (2) Brian Blade (2) Jason Moran (all)

Not one of Eddie Harris' strongest albums, but sure representative of what he was doing live in clubs during his last decade. I caught him with a set like this in Frankfurt's legendary Jazzkeller, where had jammed with local musicians in his Army days. It was there, all of it: cool tenor, hot tenor, stunning unaccompanied improvisations with his custom made electronic cabinet, funky rhythms, bluesy piano, funny vocals, Amazing scatting ... a versatile jazz entertainer in the best sense of the word, close to his audience, with a lot of substance beneath it all. Eddie had SOUL!!! Lots of it! A true original. There was an interview in Jazz Podium magazine shortly after telling about his dedication to the music, his frustrations, political awarenes, and never ending journey through music (reprinted in Christain Broecking's "Der Marsalis-Faktor", for the German reading board members). Some quotes (re-translated!): "Often young musicians approach me, like Joshua Redman, and ask for advice, and they know I am not in a position of envy. I had a million seller when I was their age. Back then I had bodyguards and drew a lot more people than the jazz youngsters of today. I was a pop star. So you cannot tell me anything. But all the people back then sayinf I was better than Sonny Stitt, Stan Getz or Sonny Rollins obviously were nuts. Sure, I came up at a time when these cats were all still around. But the point is that back then I had no idea whatsoever about the business and performing. I play much better today than at the time when I started and was an overnight success. In other words: In the US you start at the top and then make your way down - instead of the other way 'round, which would make much more sense. That's the way the business goes. And as you can see today - that hasn't changed. Look at Wynton Marsalis, Joshua Redman and whatever their names are. And then you take a look to the side - and you discover Tony Williams. When he sat in with Miles as a youngster, he was the nation's upstart. Today he plays better than ever, but hardly anyone notices. That doesn't make any sense to me." Back to the music: There's a bit of everything, and there may be better samples of all these styles in his discography, but here you get it all, and if you ever caught him live, you know it's the real thing. But it didn't appear as disjointed as on this record, the programming could be better. For Eddie in his masterful cool mainstream prime, consider "There was a Time" on ENJA. For all the other stuff, any of his sxities Atlantic stuff, maybe the leftover collection "Excursions" (available on a Collectables CD) for starters.

that was a great track. I will keep my eyes open for this album. You will not be disappointed! One of the most original albums in his discography, unique instrumentation, and this cat wrote some of the sexiest ballads of all time!

After recovering, let me say that I had a Japanese LP of this which I sold when the first CD was released, which I missed, hunted down on ebay after several years only to read that an RVG was coming up a few months later ... I guess my concentration was gone when this last track on the LP was heard - contary to you, John, I now can appreciate it much more than on the LP where I hardly noticed its qualities! More about the doorbellists in the answers thread!

Definitely not from that one! wanna bet? I better not! Again, at least I do not have to buy this one ... My personal rule # 2 for the BT's: There's always a track from an LP/CD I have but do not recognize .... always!!!

Agreed. The voice sounded familiar and unique, just couldn't remember the name. I think the recording quality of this is barely acceptable, and it's too much of a jam session to be really fulfilling. Guitar is too loud, sax too much in the background and playing all through the track with little regard to what's happening around him. I expect some extraordinary music from a live recording in doubtful sound, and that's not like it. At least I don't have to buy this.

Okay, I did as requested; I think the next two or three day will show who's up next. I'll wait for Man with the Golden Arm's reaction. No reason to be sorry, shit happens ...