mikeweil

It seems there is nothing on their website - see post above. Just re-listened to the Kenny Dorham CD Solid again - I'm gonna sell it, don't like the sound. It's clear, no hiss and all, but for these ears the OJC CD of the Debut LP sounds more natural. Besides that it has all Monk Blue Master takes with Dorham, and two each with Parker (Verve) and Rollins (Prestige).

For a European jazz drummers hall of fame list, in addition to the three above: Daniel Humair Pierre Favre Ginger Baker Klaus Weiss Joe Nay

This has got to be the top, there are many others that have excellent solos and more groove - the Baby Face Willette sessions are my favourites - but here personnel, sound, arrangements, repertoire and solos are all top, a great day, no, two great days in the studio.

I just ordered the 2 DVD set from Fresh Sound and will report on the quality as soon as I have it ... wanted to get Jammin' the Blues for many years!!!

Your description of the Basie, Billie and Monk tracks makes me think they are from the "Sound of Jazz" movie.

I heard Clapton before I knew his idols, but only with Cream, not with the Bluesbreakers. Later I got Otis Rush's Cobra recordings after reading a rave review somewhere, and when I played "All Your Love" to friend he exclaimed that it was the same solo as Clapton's on the Bluesbreakers LP he had. After looking at the recording dates it was clear who had copied .... Rush still sends chills down my spine, something Clapton never did. That says it all to me. I dig Cream, but more for Bruce and Baker, I always found Clapton a bit over the top and a little too self-conscious. I'll always prefer any of the black guitarists mentioned - Rush and the Albert King Stax are among the first Blues CDs I bought - but for musical, not racist reasons. The only white blues guitarist that moved me as much was Mike Bloomfield, but only in his best moments.

I'd say Clark Terry is an A- player, not an innovator, but so individual and excellent he is top class. Curtis Fuller would be B+ IMHO. Some not yet mentioned: Arthur Taylor, a solid B drummer, Jimmy Cobb, B+ drummer, George Duvivier, B+ bassist.

Just me and my wife this year, but a very happy new year to all our friends the world over!!!

Johnny Griffin Max Roach Richard Wyands Melvin Rhyne

I had a look and I know what we mean . The pic is in the babe thread as requested.

Typical Tucker, I might say. Side one is piano trio with Gene Perla on amplified upright and Eddie Gladden. 1. Happy - very fast exuberant modern bop with solos by all three, with some typical unexpected harmonic twists. 2. Blues for Khaldi Yasin - based on a motif Young frequently used in the solo piano piece, not your typical blues, of course, much more modern, still with some older piano techniques, a hint of stride etc. 3. Malapaga - lively rhythmic number with a Latin feel and Footprints-like changes. 4. Strange Blues - just what the title implies, it never runs the changes they way it is supposed to be in the theme. Tuckish humor. Side two is Tucker on organ with Jimmy Ponder on guitar, and Gladden. 5. Giant Steps - the only time (?) this has been done on organ, a tour de force. 6. Suite for Eddie - for Gladden, in three parts, typical Tucker. I say typical Tucker because once you've heard his personal mixture of hard bop, Tyner and humor, you know what to expect, although it sounds a little different every time. I can recommend it.

I use the hair-dryer or benzine, other solvents tend to change the surface of the plastci, and I never saw any of those fancy products like "un-do" over here ... well I'll be going on a trip to Luxembourg next year

I (regrettably?) never heard that one, but clearly remember Rahsaan Roland Kirk's raving on one of his very last LPs where he covered that song. Is this worth searching out?

Tucker and Larry Young were close friends! Tucker dedicated his "Blues for Khalid Yasin" on the Xanadu LP "Triplicity" to him, and they shared a drummer, Eddie Gladden. Have to check the Lp liner if there's more info.

With belated seasonal greetings: rather more funny than silly?

My wife surprised me with Frank Zappa Live in New York 1984 DVD, "Does Humor belong in Music?" (sure it does!). Two CDs I ordered many months ago and was anxiously awaiting arrived on the 24th, so I placed them among my Xmas gifts:

Is that one available on CD or did you find a used LP?

These are the Vince Guaraldi Trio albums that I love and that I consider jazz by any measure, they were subtle and swinging and one of the best piano/guitar/bass units ever:

I did, but found it was generalized overall praize without discussing musical details or being very knowledgeable about Vitous's career. Same goes for the review in the January 2004 issue of Jazz Podium. I have the impression there are too many jazz jounalists at work in Germany without a thorough knowledge of jazz before they got interested - I know this is a daunting task! There is an interview with Vitous in the December 2003 Jazz Times issue shedding some light on the recording and producinng procedures. I'm still disappointed, they should have done it live, and let the sparks fly!

Thanks a lot for sharing these precious recollections! I guess we would not hold Miles' music in such high esteem were it not for Teo's edits, or at least we would view in a completely different way - the reactions to the unedited material in the recent box set reissues are telling. A lot of it sounds like jam sessions searching for some direction - and that's what it was, basically. If Teo wouldn't have done this job, maybe Miles would have focussed some more? And we tend to overlook Macero was a trained musician and maybe live out his ambitions as a composer that way? It seems like he was never really satisfied with his own works?

Orrin Keepnews revealed some of these "combined" takes in the comments to his box set reissues.

Don't send Harry Allen, go yourself - it's more fun and much more exciting than having others tell the story! And I'd say instead of rationalizing you admit your attraction - it's healthier! p.s. Harry Allen only goes for Astrud Gilberto clones - and that's not your type, I'm sure - much too cool B) .

Okay you win !!!! Didn't see it - he holds it so close as if it were implanted! And I remember that one time I saw him - with the John Scofield/Pat Metheny band - he played with the fingers.

If you'd seen this live, you would understand: Herbie did kind of charm his synth keyboard as if it was a snake, using a pedal invisible to the audience, and building to that climax you hear. Without seeing the show it's kinda cheap. (Well the show was, to us jazz buffs at least - the band didn't need cheap tricks to sustain musical interest - this was for the rock and funk fans seeing Herbie for the first time.)

That certainly would have become the counterpart to "Lady In Satin" and the discussion just as controversial.