mikeweil

No doubt, since Farrell was also a very busy session musician during the same time. That's the very nature of that beast. Aw my gawd - I do not visit this board for one day and there's a helluva discussion going on! There's so much to say about this Great BT disc that I hardly know where tp start, so I pick up where Jim has left the ball: Farrell and Coleman and all the other saxists Jones employed for his Blue Note dates. I think it is not just Farrell adapting, but the spirit of Trane hovering over the Jones Bands of the time. All of the tenor players on Jones Blue Notes showed even more Coltrane influences than outside of that band, as if they felt they had to at least partially step into his shoes, and since there were two of them on many an album, the company of a colleague doing this reinforced the Trane Traits (now how's this for a song title?) in each of them: Joe Farrell, Frank Foster, George Coleman, Dave Liebman, Steve Grossman - Joe Berendt said in his Jazz Book the latter two played Coltrane x 2 in the Jones band - one of the few instances where I think he got the idea. If you listen to Coleman on the Jones session with Lee Morgan as the only other horn, he's a lot more like his typical self there - he had just joined the band as the second horn, before that is was the trio with Farrell and Garrison, whose death may have unvoluntarily enforced the change in concept. I always thought that, although I had the Mr. Jones album with this track, which has no liner notes at all, just personnel listings, the first soloist was Farrell followed by Coleman - you have this on many of these sessions that the change goes almost unnoticed because they play off of each other so much. There's only two occasions where Jones employed a piano and/or guitar player for his Blue Notes, on the later sessions that were on the Mr. Jones album (I would really like to know the reason why they reissued the title track, perhaps to lack of enough material - this was released after the Lighthouse sessions, which were recorded only later) and on the vault issue The Prime Element, although there is a live album with Gene Perla, Frank Foster, Joe Farrell and Chick Corea recorded September, 1971. Jan Hammer was the pianist in both cases, and he does not appear "pianistic" with his very lean sound and conept. The focus on all these sessions is on horns and rhythm - Jones chose a very clearly playing conga drummer with rock-solid timing and clear, loud sound in Cándido Caméro. There is one moment on "5/4 Thing" on the Coalition LP, where Jones play with an almost arhythmic quality over Cándido's solid beat. The liner notes on the twofer The Prime Element had some fitting remarks on this. The title track has Elvin soloing in a similar fashion over a complex African multi-beat drum ensemble - but he is with them all the time, as his rhythmical cue for the next part is absolutely on time. Many find the hand drums a little to very much obtrusive - but that underpins my observations about the problems in perceiving the African part of the musical heritage that is called jazz. These Blue Notes were to Jones what the Orgy in Rhythms etc. albums were to Blakey - an exploration of a heritage, not just the use of some latin inflections. Remember Coltrane was on that path when he died? Perhaps I should start a thread on the Elvin Jones Blue Note sessions. I think they are largely underrated.

http://www.abar.net/ is a great site for all Stuff Smith lovers and jazz violin fans, BTW.

I think in this case the Kelly/Chambers VeeJay Mosaic will give you the best sound, and all the alternates are worth attention, great rhythm teams throughout.

They have such a crappy website, and such a strang reissue policy... You're right - only later I noticed that it's not updated and none of the Muse reissues is listed. To use the search function of some online shop will get one better results, I guess ... But the strange reissue policy is common to almost all labels with a jazz vault at this point in time .

I have the box set and nothing to complain about the sound!

Perhaps this page or another on the Sibelius Help Center will get you what you want - there's a font download link down the page.

Try this singer for an original - different style, but great, and has paid her dues.

The more I think about it, the more I like the idea. I'm not keen on country or Rap of Hip hop either, but would perhaps listen to some essential item from this style. One of the reasons keeping me from participating in the AOW forum on a regular basis was the weekly rhythm - I found it too fast a pace to keep up. But I guess it is possible to participate on a deliberate basis as well.

There is a CD Tumbao TCD-010: "El Barbaro del Ritmo". Mambos by Beny Moré with Perez Prado and his Orchestra. Tracklist can be found on the BlueMoon website. This is not in the aforementioned box set and recommended. Without Blue Moon's Tumbao series, most of this music would be unavailable or only in inferior editions. They do a fine job with this! The Arsenio Rodríguez CDs are indispensable!

If my Czech dictionary serves me right, it is an acid jazz gig at a club called Organizzmo ( ) promising an "unusual musical experience" .... on some May 17. There are double bass and synth accompanying. You goin' ?

Doh! I had that issue for a while and didn't notice. You sure? You still have it? But as I said the "Deep Passion" on the Pettiford album is a different tune and definitely not based on "Body and Soul".

Deep Passion was on the first of Lucky's two LPs for ABC, recorded in January 1956. Both LPs are complete on an OOP Impulse CD titled "Tricotism", # 11352. But if you listen to "Deep Passion" you are really listening to the track "A Lady's Vanity", as both titles (or more) were confused on these albums and subsequent issues. There is another version with Lucky on an ABC LP by the Oscar Pettiford Orchestra, reissued on the OOP Impulse CD # 11432 which verifies this. So to listen to the real "Deep Passion" on the Lucky album you have to click on "Vanity". "Deep Passion" is a Thompson original, while "Vanity" is an improvisation on the changes of "Body and Soul".

Count me in with lots of suggestions!

Click here and type in the names .....

The times vary, but I'm getting to bed way too late, and I'm getting up way too early. ALWAYS too late!

That is what it looks like, and that's what it is for sure! A little less R&B than the Blue Notes, but still some touches of it.

Do you happen to know the story why it was stored away?

Congrats! Despite the fact that the booklet will soon fall apart, this is one great set!

I got me a sealed copy of the Duke Ellington Centennial 24-CD box set on ebay Germany for 75 EUROS! That was a great steal for me!

I'm afraid the unedited first edition is extremely rare - I'm sure Michael Cuscuna would have used a copy to edit in the missing portions or included them as bonus tracks, if would have been able to find one. I suggest you contact him regarding this.

Unfortunately you're right. I'm afraid when the James Joyce of Jive, Jon Hendricks, will have left us, there will be nobody to fill the big gap he will leave - noone was as good as he at writing lyrics to improvised solos, and most younger singers don't seem to be interested in this technique.

If it was still available, I'd buy the EmArcy box - back then it was beyond me. "I've got a date with the blues" alone would have been worth the price, there was a single CD issue of this that I also missed. Too bad!!! The Getz is fine, one of the albums where Helen's humour is displayed to great effect - they must have had a hell of a time in the studio!

I found that on ebay Germany last year, was the only bidder and got it very cheap! Verrrry nice! He has a warm voice, and a sackful of stories to tell. About Mingus, the Hamilton Quintet, the West Coast Scene .... My only complaint is that these beautiful snippets of unaccompanied horn playing he does between the storytelling are too short and too few. A great piece of oral history, there should be more like this, but I'm afraid sales figures would be even lower than for jazz books ...

Sometimes it helps me to kick a tune around in my head without writing it down until I have the complete arrangement, not just an idea on music paper. Just like I would have to learn without sheet music. If it's rounded so well that you can memorize it, it will be okay and have its own inner logic.

Richard Wyands is very, very good - I would rank him up there with Cedar Walton and the like. He has grown to be one of the best "modern classic" pianists on the scene without the general jazz public noticing. One of the last of the musicians born in the 1920's that are still alive and kicking. I think his latest recording issued was with Jimmy Cobb's Mob on Milestone. I have a Benny Carter Quartet CD on MusicMasters where he displays all of his mastery. He certainly deserves more credit. On a list of great musicians who never recorded for Blue Note, he would rank high