mikeweil

I have this on tape and like it a lot. I'll give it a spin on my way to work later. Will get me this CD although it seems to be an expensive affair. Vick plays soprano on the title track. Willis recorded this piece with Blood, Sweat & Tears before, so the label hoped they would sell some copies for his reputation with that band. Nice mixture of hardbop and funk but not the ordinary way, his writing and playing here is much more like the stuff on Hugh Masekela's Blue Thumb double album. This and the BS&T are not available at the moment, AFAIK.

... then let's prepare for master class!

... some crash wouldn't let me post the cover the last time around:

Someone posted elsewhere on this board the twofer CD by Blue Moon has better sound than the Koch single CD. It's terrific, one of my two desert island bass clarinet albums.

I have her Mapleshade CD and like it! Afterglow

This certainly does not sound sound like Annie Ross or Betty Carter to me. Must have been some of the countless L.A. studio singers. The Aladdin and UA sessions King Pleasure did had Ann Onimous on 'em, too ...

Thanks from me too, for the great disk! Like in BT # 2 there was a track from an album I own I didn't recognize: this time it was Jack Wilson playing The Good Life (so much 'bout me naming any item from my collection .... ). I bought that one many years ago as a Japanese LP, but somehow it didn't catch my attention as much as the Jack Wilson / Roy Ayers collaborations, which I really love. That Wilson has many faces/facets, lots of chops, and sometimes I'm not quite sure wether he really has a clear identity of his own because of his chops. I remember he developped an amazing facility playing two keyboards simultaneously and recorded this for Discovery, but suffered some serious accident with brain damage and had to re-learn all over - and succeeded! But I haven't heard much about him since this. Ed Bickert - have an LP of his on P.M.Records and knew him as a great Desmond sideman, but as I said I'm not that good at guessing guitarists. Guaraldi was great, a real good jazz pianist. I cherish his trios with Eddie Duran and recommend them to all of you. That Hampton Hawes is one of the few MPS productions of US pianists I never heard. Don Schlitten produced a handful of LPs for them, is this one of them? Hawes was one of the really deep blues players among jazz pianists. That Louis Stewart track leaves me with mixed feelings - I dig the fluent and effortless way he negotiates those changes, but I prefer tracks with a little more arrangement than just a head-impro-head scheme - as great as the impros are, it gets a little monotonous for me. That Lalo Schifrin / Eddie Harris thing is one to get for me - Lalo was real funky for a South American, even more than Joao Donato! But the real surprise of the test for me is Larry Goldings on the Harry Allen track - he hits a lot harder here than I know of him as a pianist - or organist -, and I like it! I ordered that CD and will post my comments ASAP. BTW - who's up next ???

Hell Yeah!!!

Me too

As I understand there was a first issue with unedited versions. It should be possible to dub from an LP in decent condition .... There was another session for Pacific Jazz with Jim Hall, Red Mitchell and the legendary Red Kelly, A Modest Trio That's even rarer. Would be an excellent choice for another Pacific Jazz Connoisseur series.

I liked that Luis Gasca LP For those who chant very much back then, have it on tape somewhere. Not yet on CD AFAIK, but would buy it on the spot. Joe was very nice in latin or "exoctic" contexts, I liked him much better on these than on the "neobop" stuff he did, especially live, because there was a certain sameness on the surface.

That Jaspar In Paris (what a misleading title!) stuff is some of the most rewarding I know among his many albums. He excelled in the company of American musicians.

Wow, what a discussion! I can understand Jim's sentiments, this is against his working ethics, but I will point my thumb downward over Harry Allen only after listening to the whole album - I ordered a copy - or even better, after listening to several albums of his. From his AMG bio I can see that he seems to be a real tribute cat: Getz, Zoot, the Blakey Birdlands ... There is a thin line between being a tribute cat and a copycat. Can't say more without hearing more. At least we agree on the drummer, Jim. Duduka de Fonseca is one the most respected guys in his field, I have an excellent drum method on Brazilian rhythms he's written. I'll look for some recordings when I'm back home. p.s. my memory did not serve me right on the Dexter Gordon track - of course it is Cedar Walton and Palle Mikkelborg and not Freddie Hubbard and Herbie Hancock, who are on other tracks ...

That's a great one!!! Pierre Sprey (the engineer) played the CD to Dwike Mitchell before issue, who said this was not Walter Davis but Monk playing through Walter Davis' hands ...

Always at your service ... My experience is that 1) striving for authenticity is very important 2) because on the way you learn what you can do or reach and what not 3) that helps in finding your own thing e.g. it was very important for me to study Mongo Santamaria's playing and trying to exactly play like him, I learned so much on the way and had to admit I couldn't do it. But it also gave me an idea of the directions I could take. In the end, the only authenticity possible is to be true to yourself. If that means trying to play exactly like someone else without any malice, it's okay with me ...

So the great Heitor Villa-Lobos himself - what a privilege. If we look at classical music: Much of the music of Villa-Lobos, Alberto Ginastera, Amadeo Roldan, Alejandro Caturla etc. is seen as being influenced by Strawinsky, but I'd rather say hearing Stravinsky's music encouraged them on a way similar to his that they already had in mind. Debussy and Satie heard Stravinsky in Paris, and it impressed them immensly, made them go on in their own direction, but noone would say they were "influenced", but they were in a sense, but sound different. Same goes for the so-called "jazz influence".

That depends on how you look at the evolution of bossa nova. At least some of its prime architects, Joao Gilberto, Antonio Carlos Jobim and Luiz Bonfa, had nothing or very little to do with jazz, Jobim may have known some, but I think it is a common misconception to see bossa nova as a mixture of samba and cool jazz. It is rather a development of the samba cancao and can be explained without any jazz influence. Clare Fischer once explained in a French TV documentary on Bossa Nova how Jbim developped his chord changes from Frederic Chopin's music - he had classical training (but wasan architect before he went professional). There was a group of Brazilian musicians that played jazz, but they were leaning more towards hard bop - it is no accident Herbie Mann recorded Clifford Brown's "Blues Walk" with Sergio Mendes' Bossa Rio Sextet. I don not hear very much jazz in Joao Gilberto's classic bossa nova recordings - Brazilian producers hated improvisation on records, that's why these little ditties always clock in under two minutes - and there were other traditions of improvisation in Brazil for horn players to draw upon, like choro - that's were Paulo Moura comes from. Jazz listeners tend to interpret forms of improvisation that sound similar to jazz as jazz influence, but in fact they were developments of Afro-American music applying similar or identical methods to differing ingredients. If you take musical forms in the Americas ca. 1900 and compare early New Orleans Jazz and North American Blues to Dominican Meringue, Beguines from Martinique, Cuban Danzon or Son, Brazilian Choro etc. you will find many common traits, but these styles developped more or less independently before jazz was spread through sound recordings. The common traits are the reason, or rather the precondition that jazz can be mixed with them that easily, but if you take a closer look there are subtle differences.

Niether did I, it's just one of those dates that's near perfect. For me it's the best place to appreciate Tadd's lovely compositions. Small group wise, it is damn close to perfection. Orchestra-wise, I like this one best:

This one is at the very top of my list: Other favourites:

I have to admit I like that "Getz clone". He has one advantage: almost 40 years of experience of fusing jazz with Brazilian music, which Getz couldn't have. Getz never had a drummer that much cookin' on any of his bossa nova records, it was played cool then, but that new one is as hot as some samba dancers. Rhythmically, I found these Getz records much too restrained and cool. And I like that he's rhythmically more accurate with the theme. Brazilian music is much closer to specific rhythmic patterns, and if you take too many jazzy liberties, it moves away from its core pretty fast, which is okay from a jazz point of view, but unauthentic from a Brazilian point of view. Maybe I'm a little picky with these things since I've played Jobim with musicians from both parties and find the Brazilian much more exiting and grooving, rhythmically. When Getz played his first bossa nova, he had no idea about the music, and for my ears it shows, although his natural affinity for the music and the way he adapted to it are marvellous. Once you know the "precision" of authentic Brazilian grooves, too many jazz interpretations of it sound a little sloppy. I'm gonna get me that disc. I like both Getz and this, as much as I like both Lester Young AND Paul Quinichette. If we wouldn't know about Getz for some reason, this "clone" would sound fantastic to our ears, and if we're honest we must admit it's a damn hard thing to do to come that close. But I hear his own conception as well, I was skeptical form the first bars because he is rhythmically so much more accurate with the theme than Getz. I think it is a brilliant idea to incorporate that guitar/sax duet, a nice sidewink at the Getz/Raney connection. I like it a lot!

Am I right it is hopeless to ask for availability of this item?

Pat Patrick played in Mongo Santamaria's Band for several years, Bobby Capers or Hubert Laws was the other saxophonist, and they all doubled like wild, all playing alto, tenor, baritone and flute, so there is only one Patrick bari solo per LP. Same for the Riverside sessions he played on, he's on three tracks of the Frank Strozier "Long Night", three of Blue Mitchell's "A Sure Thing" and the like. Jimmy Heath's "Really Big" is another one where he played bari. On my quest for Patrick in the Bruyninckx disco I found some rare bird: "The Sensational Guitars of Dan and Dale" which are Danny Kalb and Steve Katz (the latter of Blood, Sweat & Tears fame). The band features Al Kooper (both guitarists were in his Blues Project) and SUN RA !!! on organ and Jimmy Owens, Tom McIntosh, Marshall Allen, John Gilmore and Pat Patrick as horn section!!! Now that should be something!!! Anybody heard this??? Recorded in 1966 for Tifton S-78002. The album is called "Batman and Robin" - the song titles are what you're afraid it will be after reading the album title. Temperley is great. He is featured on Benny Carter's sax ensemble CD on MusicMasters.

Bingo, it seems, Mr. Sangrey!!! I'm relieved that ....

I must admit I love 'em all: Serge Chaloff - Blue Serge is a desert island disc Cecil Payne - love his lightness, especially on Ray Crawford's Candid CD Harry Carney - he should have done more soloing in small groups Pepper Adams Gary Smulyan Ronnie Cuber Leo Parker Tate Houston (check out the Delmark Sir Charles Thompson sides!) Gil Mellé Two not yet mentioned: Pat Patrick (yeah!!!) Charles Davis (was disappointed when he turned to tenor, but he still plays bari and got a rave review in Jazz Times for his latest CD)

Exactly. I know a very good second hand jazz record dealer - unfortunately he had to go out of business for reasons of poor health - who got several large collections that way, and one of them had a complete selection of the Chronological Classics CDs. Jazz Is Beck, a German mail order shop, offered a subscription to these until recently, and quite a few jazz lovers didn't miss a single issue.