mikeweil

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 .....

I too hear Swallow overdubbing his bass as a solo voice on top of his electric bass lines; Carla played organ or synth (like an orchestral background), but no synth bass lines. When I saw them playing live they had a guitarist doubling on bass for the pieces when Swallow was the lead voice. There are no liner notes on the original LPs or CD reissues; just credits always saying that Swallow plays bass, Carla plays organ and synth, and Willis plays piano. Just that. We know that Jim loves his love stories behind musical stories ..... but it was not the liner notes that laid it on him.

I hope our wives will get along as well, otherwise we risk ruining our marriages, 'cause this will be going to last for months!!! I couldn't find any better words describing Warne Marsh's sound, he was truly unique, and this kind of individuality moves me much more than the Berklee/Brecker type of playing. The Joe Daley is another example for great talent that nobody notices, and I sure will try to get the Threadgill. The fact that he was almost killed in a severe automobile accident in August 1952 - he was unconscious for several weeks -, leaving an impact on his forehead and lowering his voice considerably sheds some light on that Percy Mayfield lyric. His expression is so uninhibited it sends chills down my spine, not always of the pleasurable type.

So you've fooled me (and probably all of us) completely with that Hadley Caliman track! I've always liked his energetic approach, e.g. on the Luis Gasca Blue Thumb LP, but never had a chance to listen to that one, otherwise I would have bought and kept it! This is a lesson in that there are many players as great as those in the spotlight - Bayété, Leary and Sonship Theus easily compare to Corea/Holland/deJohnette! I got the Clare Fischer and Braxton Orchestras right, and it kind of moves me that again there is a striking similarity between our adolescent listening experiences - Thesaurus was my first encounter with Warne Marsh, too. I know almost every note on this LP by heart. I guess about nobody over here in Europe got the "tribute" etc. elements in the Bley/Swallow record ... Willis played acoustic piano on all these albums, Carla NEVER did, she handled organ and synth. Saw this band live, but without Willis shortly before they started the duo thing ..... B) That Wein All Stars track is nice, and the attitude of that is not too far removed from the WGJB that I took it for - these were bands that gave exposure to these masters when their playing styles were considered "out". What can I say but: an excellent BT!!!!!

I received Stand! on Chistmas Eve and it is one of the best guitar albums I have heard in many years. He makes me listen to pop tunes I hated (because you couldn't but hear them every day on the radio) or rather his brilliant improvisations on them. Very original treatments. His solos are variable, spontaneous, full of unexpected turns and catch my interest more than Peter Bernstein or other comparable guitarists. The trios interplay is great - e.g. the way the play The Letter in 5/4 and take it out as a blues - you miss something if you never listen to that album! Highly recommended!!! Premonition Records Bobby Broom website

Thanks for Tony's death year, didn't have the time to look up. Arthur Taylor - I know many great drummers that were as great as he was, but not as original and/or innovative or important as those listed: Jimmy Cobb, Oliver Jackson, Don Lamond, Vernel Fournier .... these would belong into the B-league, I think.

In the case of Wes, the discography on jazzdisco.org gives a pretty accurate listing of all takes issued.

A complete lsiting of all issued takes of Wes Montgomery's sessions with Milt Jackson are in the discography of the Complete Riverside Recordings box set. Wes was particularly self-critical and often asked for another take when everybody else was satisfied - "Wes doesn't like his solo" is one of Keepnews' most frequent notes in the session logs. In the case of Wes, alternate takes always merit a listen as he completey changed his approach to a solo every time, same goes for Charlie Parker. The accuracy of a discography depends on many factors: the existence of session logs, the way they were written down in the first place; sometimes they used a new take number even if it only was a false start. Tapes with unused material were stored and kept, as is the case with Miles Davis' Columbia material, were every fart he let go in the studio still exists, but in most cases, and the more so with smaller labels who could not afford storage facilities, they were destroyed, lost, or the tape was re-used. In the case of Wes' Riverside material, I think everything that merits a release is available - and just as often the original session tapes are lost. The Bags meets Wes, Groove Brothers, Fusion, Live at Tsubos's and all organ trios are those were all session tapes still exist. Fantasy is not consistent in giving take numbers in liner notes or on the CD inlay card, sometimes they do, sometimes not. It took me quite a few hours to figure out which takes of Wes' last Riverside organ trio sessions are on what specific release.

Once more you hit the nail on the head, Jim!

I've always dug the list of great jazz drummers Dan Morgenstern compiled in his liner notes to a DRG/Swing Kenny Clarke reissue, and would like to use it as the basis of this list (maybe other board members can do this for other instruments?): Sonny Greer (1895-1982) Baby Dodds (1898-1959) Zutty Singleton (1898-1975) Chick Webb (1902-1939) Walter Johnson (1904-1977) Dave Tough (1907-1948) Cozy Cole (1909-1981) Gene Krupa (1909-1973) Jimmy Crawford (1910-1980) Big Sid Catlett (1910-1951) Jo Jones (1911-1985) Kenny Clarke (1914-1985) Buddy Rich (1917-1987) Denzil Best (1917-1965) Art Blakey (1919-1991) Shadow Wilson (1919-1959) Shelly Manne (1920-1984) Philly Joe Jones (1923-1985) *Louie Bellson (1924- Tiny Kahn (1924-1953) *Max Roach (1925- *Roy Haynes (1926- *Elvin Jones (1927- Ed Blackwell (1927- Mel Lewis (1929- Alan Dawson (1929- Billy Higgins (1936- *Andrew Cyrille (1939- *Jack deJohnette (1942- *Al Foster (1944- Tony Williams (1945-1997) This is a list of drummers that were innovative, influential and original, or all of this. Who else do you think belongs on this list? (Any corrections on years of birth or death are welcome!)

I think Rich always lacked elegance and elasticity, not only on this date. He swings and is technically competent, but he never had that smoothness I admire in the playing of most African-American drummers, and the best whites - Louie Bellson had it, as well as the same technical prowess as Rich.

Barrett Deems is still active as well.

I added Buddy de Franco and Don Lamond (R.I.P.) - please correct me if i missed anyone's passing that I marked as still among us.

I saw the Headhunters live in 1974, Hancock, Bennie Maupin, Paul Jackson, Mike Clark and Bill Summers, and they were smokin'!!! The only recording giving a hint at what they were capable of is the Japanese twofer Flood.

Thanks for the recommendations Jim - I really appreciate that. Have a nice and peaceful time!

Great photo, say it all .... I used to hate electric bass because I didn't like Jaco. I can appreciate what he's doing and what's so great about it, but didn't like his stage personality and the sound, rather some bass guitar than a bass. But I had to work with electric bass guitarists all the time, still do, and some of them are bad mofos. It all depends on the player what he makes out of the instrument, as long as he blends well with the ensemble and has a nice sound, it's alright with me. On record, I liked James Genus' playing electric on one of Steve Masakovski's Blue Note CDs, and much of Jerry Jemmott or Chuck Rainey. There are great and bad players on every instrument! On a bottom line I still prefer the woody sound of an unamplified double bass .....

He was one the oldest living active jazz veterans and a very good drummer. I liked his playing. R.I.P.

That's the way great spirits should treat each other, isn't it? I really dig the way he opened up to Monk's musical world.

I'm glad I did before my mother died just four weeks ago. And now my wife's mother is hospitalized with cancer, things do not look good ... this was a hard year, and we need some rest, emotionally as well as financially, so we stay home, have dinner with some friends ..... merry Xmas to y'all!

This is the website they print on their discs: http://www.timcompany.com/ This will not be displayed on my computer screen, no matter whatbrowser I use ... any among you that was more successfull? The logo on the box sets and the Candid reissues seems identical to me.

I should have formulated my criticism more precisely - I see it much the same way you do, but still wouldn't have played it that way. Too little elegance in that attention-catching first drum break. When I imagine the way Mel Lewis would have handled this ... but I gues a young Chico HAD to play it that way. And from the third break on everything is just great - he just had to release some ... err pressure.

It isn't just you Jim, I have to disagree with you on that ... I agree on your observations about sex and marriage and accumulating experience, and see a parallel between these processes in life and in music - I mean, listening to your fellow musicians is just as essential as listening to your wife ... You have to listen closely, and again and again, and maybe some day you will get it (or get in line ), but only after listening and even trying to appreciate things you don't like on first listen - but I think that's what divides a musician from a fan. (No depriciation of fandom intended.) I can communicate observations like these about Riddle's arranging skills to (some of) my fellow musicians, but my friends just won't get it. To get to the point, although I kind of dislike Sinatra's voice, what Sinatra/Riddle compilation would you recommend to me, Jim?

Very very sad news indeed. Koller was one of the greatest and most original European jazz musicians in the 20th century - and an interesting painter as well. That Jazz Realities CD couw recommended is a treat. I always loved the Vienna Blues pictured above, got the MPS "Exclusiv" only last week - this is simply a year that's almost too hard to endure. So many greats that we lost. RIP Hans, you're having a great jam session with Prez, Stan, Bill Perkins and all the "brothers", I'm sure!