mikeweil

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.

I guess that's the reason I never even noticed! His playing is definitely more together on these than on the previous three LPs after the Riverside albums, and his interplay with Philly Joe is good.

Don't know if it's just you Jim, but it certainly isn't me - she's not my type - but considering her share of lovers and the image she projects ... It seems it worked with you ...

Swallow did NOT use plectrums!!! Saw him live several times and he never did! Did you??? That's his very personal sound, but played with fingers. Even if Carla used samples the phrasing would not be like this.

Swallow used different sounds for accompaniment and soloing. Very similar to a synth bass, the latter, I admit. You sure Carla is not on that track? If you're talking about the one on your BT disc 2, I hear organ (Carla), solo bass (Swallow), piano (Willis), guitar (Bullock), horns, and low bass - and the attack of the notes does not sound like a synth bass to me but like the way a bass guitar player phrases - Carla's simply not that good at exact phrasing , and I hear Swallow's sound in that bass. Don't have the whole album any more, but I will get it agian, if only to argue about the bass players with you .

C'mon Jim, tell us more of your projections (psychoanalytically speaking, that is... )! (oh those darned typos!)

It was on RCA/Bluebird CD 6579 in 1990, long OOP, but maybe a used copy turns up. I sold mine years ago or I would offer it to you, sorry.

Can we please continue the discussion on the other thread as Jim suggested - it gets cumbersome to watch two of them .....