mikeweil

Of course I do realise this, that's my justification for my weird combination of jazz history and autobiographical elaborations .... I'd sure like to recommend a Kronberg CD, but I don't know of anything really adequate, too bad he is gone ... There are some of the Mangelsdorff groups with Sauer and some of his available, if you like Albert, you won't go wrong with any of his MPS albums; the Sauer releases (there is a new trio available through Zweitausendeins) I haven't heard. Hearing him live was enough for me I am aware of the (east, in this particular case) Asian influence, but well, it just didn't move me that much - I was listening to a lot of Asian and Arabian stuff as well and found the inspirational sources much more exiting. And I'm sure there is a cup (of tea and else) for everybody!

Deep in your heart you know they won't.

ubu, why don't you have a dvd of her !?!?!

Be warned it has a few tracks with a string quartet. I find it a little unsettled and not quite on the level of the first Impulse box. But they still have it: Jarrett, Keith "EXPECTATIONS" Mit Charlie Haden, Paul Motion, Sam Brown, Airto Moreira, Dewey Redman. Aufnahme 1972. Digitally remastered/20 Bit. Columbia Legacy. 2 CDs 9,99 EUR. Nr. 71488.

To fill the gap until Jim posts his inside stories about Quartet Out, I fulfill my promise and post some more exposé ... That Mangelsdorff track made me think about my relationship to that music, and it was a nice coincidence that I caught a 45 minute feature on him in one of Germany's documentation TV channels last week, done at the occasion of his 75th birthday last year. It struck me that after an initial heavy Tristano school influence they wanted the music to become somewhat less cerebral, but to me it still sounded pretty abstract and I missed the "black" groove. In the 1970's his music leaned more and more towards so-called "free jazz" and he became one of the leading players in Globe Unity circles and at the same time started developping his amazing multiphonics technique. It was two factors that made me stay away from this music: 1. it was readily accessible, I lived only 15 miles from Frankfurt where he lived and performed the most often, and I had listened to it often enough to find out that this was not what I wanted to pursue 2. as I was exploring ethnic music at the same time, there was not enough relation to this in it - where I was checking out the African-American roots of the music, his was trying to gain some independence from it and find its European identity. This is a complex process on the verge of contradiction, as he once stated playing jazz was one possibility of playing music that was the farthest removed from some aspects of German culture he was disgusted with, like people singing more or less drunk in October-Feast-like events .... Where I still here a continuous soundstream in Mangelsdorff's own identity, it is the sax players who changed radically: Heinz Sauer developped a raspy inattractive sound without a trace of beauty or humour that I find hard to stand for more than one solo; Günter Kronberg became one of the greatest mainstream alto players in all of Europe, but there is not a single recording giving a true impression of the energy and comittment to music he exposed on gigs - I saw him with the band Voices (Sauer was in that, too) a few months before his death and he blew everyone off the stage! Great baritone player as well! The stuff they recorded for local radio - which was a lot - was too controlled. The drummer, Ralf Hübner, always disappointed me, almost no independence of limbs, bad taste in crash cymbals, there were groovier drummers in Germany, but he was the local matador. His influence was so overpowering, especially because he was the German scene's role model for international recognition, that I had to stay away from that music. I appreciate the achievements and influence, but it is not my cup of tea ... didn't move me that much, I have to admit.

My favourite Redman solo, BTW, still is in the title track on Jarrett's Birth.

I sincerely can recommend the Jarrett band with Redman, Haden, Motian and Franco or Johnson on percussion. I'd say go the first Impulse box which includes the live tracks in more complete fashion and gives a better picture of what the band did live. I like this quartet much better than the European one with Garbarek, they did some wild stuff. AMG link

It's sounds are filling my room right now! That first track is Eddie at his coolest! Sure would like to know what made the audience laugh and applaud in the opening theme. They had a good time, clapping happily along ...

Cool indeed! I'll keep my fingers crossed (except while posting here, that is!).

It probably is due to the scripts programmers use for the board software. They save work and time by using scripts existing in MSIE without checking that the stuff works the same way in other browsers. Same goes for some websites. I sincerely hope this will all change once Microsoft starts charging for its browser, then they will have some tough competition. Right now MSIE dominates that much that hardly anybody seems to care about making his stuff compliant to other browsers - I always smile with delight whenever I use AllTheWeb and read "Opera compliant"!

Oh, now I remember - one more of these cases to drive a jazz lover mad

That describes it very well, I think, and the reason why I dig this CD out only once in five years!

This board brings bits of paradise to earth like no other place ....

For a CD/LP based database this may be okay, but it won't meet critical discographical standards. For this, I'm afraid, a database like BRIAN by Steve Albin will remain the best.

All of us board members together would make an unbeatable team to write up some definite critical musician biographies ...

The Candid CD 79042 has Body and Soul (take 2) Reinacrnation of a lovebird (1st version)(take 4) Melody from the drums listed as previously unissued, and this was released after the Mosaic set. Shame on them. These are identical with the two respective takes on the Candid Dolphy CD. So the CD edition of the Candid Mingus indeed seems to complete, which puzzles me a bit, as I remember a down beat review stating that one of these Candid CDs had unreleased material - the reviewer must have referred to the LP Mosaic without making this clear - maybe he wasn't aware that the LP and CD editions were different. Those Candid reissue CDs are a mess! Must be so much hard work to release CDs with complete sessions ....

So they had much more stored in New York? Like the Don Cherry tapes? Any idea how much there is, Chuck?

At last had a chance to listen to the two CDs of the recordings of Dorham and Wilen, a very nice band, both play beautifully! ( ......, you know who I am thanking!)

That last tune on this soundtrack album, "Hay no problema" is a nice one, had the pleasure of playing it with just piano and conga/bongos as accompaniment for a Spanish dance choreography. There is so much good music written for these soundtracks that could stand on its own and should be played!

Is this available somewhere?

I'm afraid the tapes were destroyed by the devastating fire in Atlantic's tape vaults in 1974 like most other unissued material before 1970, except for the few items that happened to be in New York for some reason - that's were the few uinissued tracks of Coltrane, Coleman and others come from.

There was a description of the Miles Davis Quintet going somewhat like this: A trumpeter that fluffs half of his notes, and out-of-tune tenor player, a cocktail pianist, a drummer that is too loud, and a teen-aged bassist. No idea where this originated, I have it from the liner of the Prestige Miles box set.

Thanks for the opinions. What Hooker CDs would you recommend besides "Suffer"?

The AMG review tells the greater part of "Riot" is on the "Essential" 2 CD compilation I mentioned in my post above, and in good sound, as all recent Legacy issues. So that may be one to settle for, at least for the time being. I will get it and see if I get the message now that I'm a little older and wiser ... I surely got some message from J.B., "Papa's Got A Brand New Bag" and all the hits come hit me righ taway, the groove reached me instantly, although I didn't like his screaming vocals. But Sly Stone - perhaps the surroundings for a young German to grow up in are too far removed to comprehend something like Sly Stone, ar what do you all think? Is it some non-musical level that's more important here than on the J.B. hits? Idon't know, but would like to hear your opinion.