mikeweil

Needless to say I'll order a copy, no matter from which part of the world, as long as it is the Uptown issue! I can't say enough good things about that Mingus issue and would threaten to kill anybody who attempted to buy any Spanish bootleg of it. Jim, I get your point! When I started collecting bebop, I always wondered how these huys sounded without the swing ryhthm sections the record companies engaged to play it safe, a appreciative as these players were ... now we're going to get a sample!

Thanks Jim for your reply. I wanted to ask about another Jane Ira Bloom recording you mixed but did not record. I thought you'd handle it that way. But I keep asking myself: what's wrong about the sound of a basement studio? Who wants it to sound like Carnegie Hall, the musicians, the producer, or is it a widespread sound esthetic you have to follow, or do you - or anybody else in the process - simply like it better that way? In a way, isn't that cheating? - A friend of mine had an organ CD made in a church in northern Germany sounding like a big cathedral but was surprised to find a small building with rather dry acoustics when he visited that particular church ... And: do YOU hear the difference, if it was recorded that way or in a small basement studio?

Let's hope he's just too busy; maybe the questions were not that interesting, something was too special for me, at least, but never mind ...

Jim, a rather general question: When you are mixing a record someone else has recorded, do you add reverb to the mix? And to what extent? Do you use reverb and how much when recording? Or do you add it only later in the mix, if you use it at all? Thanks ...

La incomparable, indeed. Another great loss, this is a sad year. R.I.P. Celia, aché .....

I liked Javon Jackson's organ combo CD on Blue Note with Larry Goldings, Dave Stryker and Billy Drummond, but how's this? Any comment by someone who has (listened to) it is appreciated .... Javon Jackson at Palmetto website

Okay Jim, what devil has made you tell us all this ?!?

Thanks for the many responses in such a short time! Very nice choices. After the first 50 posts I'll count them and post a list, so far Dexter Gordon and I guess I'll hang my tears out to dry top the list. Puzzles me Lester Young isn't getting more votes .....

Was listening to Lester Young quite often these days, and find his rendition of I Can't Get Started" from 1942 is the saxophone ballad that moves me the most. Now what is your all-time favourite saxophone ballad interpretation for the desert island? Only one please, yes, just one .... I know it's hard, but try and do your best.

Noone can join you on this couch as long as you're jumping in the middle spreading out to both sides ..... will you please keep still for a moment or two?

I remember this cookin' assistant from the old BBB days who's out of a job at the moment ....

At least he had his share of success and international fame before it was too late. But he was not a jazzman, but a sonero!!!

AFAIK the Stanley Turrentine Time LP was recorded at two sessions, with Tommy Flanagan at the piano on 4 of the 7 tracks. Couldn't it be that Bob Shad had the idea to have Max Roach back Stanley Turrentine on his debut LP, and Max then offered the brothers the job when part of his band gave notice?

Yes, they're at least personal, often warm reminiscences. Maybe a trait of aging jazz producers reissuing some of their own work - Orrin Keepnews comes to my mind ....

Got it today, and as usual I thumbed through the book and started reading the afterword first ... What it says about the superfluousness of criticism, based on George Steiner, is brilliant! Too long to quote it here ...

Nice photo you posted, jazzshrink, and thanks again to Benny. Even German TV 8.00 pm news reported his death this evening, and they mention only the greatest or the most popular.

Anyway, the recording date for the Sonny Clark Trio I found is March 23, 1960! But Steve Hofmann states: "January 6, 1959 is the correct recording date! The later date might be a "record company tapes received" date. Better change those history books!" Tend to believe him. Mike, what do you think? I like this much better than his Blue Note Trios - because of his great originals. Gotta get me this SACD - and a player later on this year, if finances permit ...

I'd buy anything by this friends team!

It's not crazy, it's ridiculous!

A role model for all of us! As great a jazz life as it can be. Just played a Keynote recording of his for my wife this morning, she wants to learn saxophone and I used it as an example of pre-Parker alto playing .... R.I.P. p.s. Jim (B-3er, that is), can you install a smiley with tears in his eyes ....

I found the records I used to keep at the time with the personnel of each group I saw perform: at that concert it was Kim Clarke on bass.

I too mailed Mosaic about Chamber Music of the New Jazz, and I understood the legal tangles referred specifically to this LP and not the other Argo Jamal Trio records, maybe the fact that is was originally recorded for Parrot has something to do with this. So the Argo was kind of a licence issue, although it was "sold" to them. Of course it's a shame such a classic date is unavailable. A similar case is Johny Griffin's fine Argo LP, which also was recorded for Parrot. The fine web page The Parrot and Blue Lake Labels gives some insight; scroll down the page to find the comments on the Jamal and Griffin recordings. A reissue should certainly combine the 4 pieces with Richard Davis with the 12" LP.

Sheila Jordan indeed used Oscar brown Jr.'s lyrics! He was a hip guy with a wild sense of humour, dig "But I was cool" on the "Sin & Soul" album ... when I first heard that one on German radio many years ago I broke up!