mikeweil

So it seems Spaulding is one of those players you either love or don't..... I always liked him, he was one of my favourite alto players from the first time I heard him (which was on Freddie Hubbard's Breaking Point, a friend of mine had that at the time). I voted for the "progressive dates" because the Rivers date would have been my single choice date. The originally unreleased date with Hutcherson, Patterns (?) is nice too. That he and Joe Chambers - who had even grteater potential as a composer than Spaulding - didn't get their Blue Note dates is one of Alfred Lion's greatest mistakes, in my opinion. Jackie McLean, OTOH, never really got to me - couldn't stand his intonation. Always liked Dolphy. And Bartz. When Spaulding had his first date as a leader, in the 1970's for Storyville, I was disappointed because it was a straightahead Ellingtonia thing. And the Muse dates are nice, but not overwhelming. Maybe he missed the right point in time. With Hubbard it always sounded to me like Freddie kept him down a little so he couldn't steal the show - Freddie certainly had the bigger ego.

Yeah, that's goodie! How could I forget???!!! Tim Garland is another of the younger cats doubling on bass clarinet, by the way .....

Turns out this here is the board I return to 90% of the time, and the one where I post my questions. Here are the fellow who know! Thanks again a thousand times, Jim, and it's a fantastic piece of freeware indeed!

Thinking about it, Maupin remains my favourite bass clarinet player. Besides David Murray, Chris Potter and the like, isn't there some nice b-c every now and then by Michael Moore, Marty Ehrlich and Bob Mintzer (the latter two on Don Grolnick's Blue Notes). I have to admit my favourite straightahead b-c albums are Herbie Mann's "Great Ideas of Western Mann" on Riverside/OJC (with Jimmy Rowles and Mel Lewis) - and Buddy DeFranco's (yes! his only bass - and alto - clarinet recordings) "Blues Bag" on VeeJay(1964). The latter practically has the Jazz Messengers - Lee Morgan, Curtis Fuller, Victor Sproles, Blakey - of the day plus DeFranco and Victor Feldman alternating on vibes and piano. A great selection of Blues tunes by Ornette Coleman, John Coltrane, Monk, Feldman, DeFranco, Leonard Feather and Dizzy Gillespie. Very nice selection of tunes, great concept, great playing. Does any of you b-c freaks cherish any of these two?

Jack deJohnette's "The DeJohnette Complex" on OJC/Milestone has some nice Maupin, in a vein similar to the IS sessions. There is a long bass clarinet solo on the next deJohnette Milestone LP "Have You Heard" and more Maupin on the Prestige "Sorcery" - don't know if they were on CD.

I have always enjoyed saxophonist Bobby Capers' playing. I have most of his records with Mongo Santamaria and the Latin Jazz Quintet, found a small number of studio dates and the info he played but obviously never recorded with Max Roach. The stuff he recorded with his sister, the esteemed pianist/composer Valerie Capers remained unissued and is probably lost forever, as well as a session as a leader for Atlantic. I read on some web pages on his sister that he died, but cannot find any details. Does anybody here know when he died, the circumstances and wether he recorded anything more than the stuff mentioned above? I consider writing his discography and would be grateful for any biographic/discographic detail.

I haven't heard these early Hipp recordings, they are hard to find, even here in Germany, but I know Brubeck's early stuff very well and know he just tried something ryhthmically different than just swing in a conventional jazz sense. I appreciate his ideas wery much, have tried similar things and sometimes received criticsim from people - listeners or fellow musicians - who could not follow the idea that rhythmic phrasing was subject to improvisation just as melody or harmony are.

The Blue Note reissues that Time-Life did also had those same blue covers, guess they thought they were pretty cool to use blue color for Blue Note albums .... I had a Lou Donaldson "Good Gracious" from that series but couldn't stand looking at it and sold it through ebay ...

Paul Quinichette never recorded for Riverside, to my knowledge, so I reckon you're talkin' 'bout the two Basie-ites Prestige sessions: OJC OJCCD-978-2 - Paul Quinichette - For Basie OJC OJCCD-1049-2 - Paul Quinichette - Basie Reunion I have a very interesting duo recording Jo Jones did with Milt Hinton, originally on Everest, available on Fresh Sound FSR-CD 204 "Percussion and Bass", that has him on vibes, tambourine, timpani as well as traps, shows a lot more versatility than usually expected. There were some solo recordings done for the French Jazz Odyssey label in 1973, but I never saw these anywhere, has anybody here heard them? Those Vanguards are very nice indeed, it's a shame they were reissued in such a scattered fashion.

That's exactly what happens to me after a gig in a smoky club! As much as I love to play for them people, I hate their habit!

And it seems to be more reasonable and/or profitable for them to start a lawsuit with some European or import companies than to do these reissues themselves!

I think she's even greater than June Christy, as she improvises a lot more and takes a lot of chances along the way. The early Atlantics are killer stuff. The way she phrases rhythmically on her rendition of "Moon Ray" sends chills down my spine. Christy is somewhat too controlled, in a way, for my taste, although she once was my favourite; but that was before I discovered Connor! Of the younger female singers, Dominique Eade comes closest. She did a very original 5/4 rendition of "Moon Ray" on her Christy/Connor tribute CD "When the wind was cool". Check her out, you'll like her.

I have them all and love them, although the saxists are not quite my taste. But Danny's bass sound ..... it's one of the grandest bass sound I've ever heard! Wish Dave Holland had such a big sound.

Geoffrey Keezer once said Herbie had told him he sometimes just sits in front of the keyboard and hits some chord in random fashion, curious about the way it sounds. I don't know if he ever does that in public, but .... B) The interview can be found on the Geoff Keezer pages at GMN.

I landed my biggest flop when I mixed up Coleman Hawkins and Lester Young in a Blindfold Test. I often do this with friends, and he played so many 1940's tenors for me that I got mixed up!

Not good, excellent!!!

I have a 15 minute version of Outside In recorded for the BBC in 1977, on Windsong WINCD 012, released in 1992, "John Martyn, BBC Radio 1 Live In Concert". Is that what you're talking about? (the majority of the tracks on this CD is from a 1986 concert). The Tumbler, Stormbringer, Bless The Weather, Solid Air, One World, Inside Out have all been on Island CDs in the late 1980's, maybe more.

Thanks for posting that Interview! LMAO; ROTF Bev, could you recommend any of Richard Thompson's albums with Danny Thompson? Thanks!

I highly recommend "Repetition" on Soul Note SN 1084 CD, a date from 1984 with Barry Harris, Walter Booker and Vernel Fournier. I agree that Jordan is taken for granted most of the times and his individuality not recognized. The remarks about Mapleshade's "silly audiphile claims" are too harsh: Jordan's "Live at Ethell's" received one the most prestigious awards among American high end circles. These CDs are about the only ones that sound like an acoustic band (with minimum amplification, that is) in front of you, which may not be to everyones taste. The graphics are indeed way below the level of their sound.

That's the way I see it, too (both parts I quoted . I learned a lot from Herbie as far as rhythmic awareness is concerned; being a percussionist the intricacies of his harmonic style were less important to me. I often found that Afro-American musicians sometimes use a chord for its sound in the first place, and use it percussively, like a drum with its rich multicentered (tonally speaking) sound. I experience a similar thing with a Kurdish musician I play with for three years now, he harmonizes for sound's sake, not according to functionally appropriate harmonic rules. Listening to Herbie's solos on "Ostinato" on the "Mwandishi" album always makes me think of a battery of African xylophones. I have to add that this preoccupation with harmony is a typically Western thing; research about scales and chords in Non-Western music started roughly a little more than 100 years ago, whereas the serious study of African rhythm started in the 1950's. From an African point of view, sound and rhythm is always more important than harmony, a chord being more or less a sideproduct of the search for a rich sound. Remember, jazz is black music, at the core, and you can get niggers out of Africa, but you cannot get Africa out of niggahs ..

Just because The Pentangle was a lot jazzier than the other British Folk/Rock bands of the time, I liked them a lot more. Danny Thompson and Terry Cox were a great team, playing with Alexis Korner's Blue Incorporated before he urged them to join the Jansch/Renbourn/McShee triumvirate. I also found Jacqui McShee's vocals more attractive because they were so clear with out the sometimes forced expressiveness of singers with a heavier rock influence. I admit, though, that her blues singing doesn't convince me either. I have all of their original LPs and the CD versions, they were unique and an early idol for my own first band, for their fusion of folk with jazz and early music (Oregon and Shakti were the other two bands we looked up to). I never warmed up to the later reunions because they were comparatively unflexible, rhythmically. We played one of their pieces, Light Flight, with that first band, and I do play it again with my actual trio. Some of their music was downright beautiful, the last two albums, Reflection and Solomon's Seal, being my favourites (Jacqui McShee once told me Cruel Sister was her favourite). The master tapes for Solomon's Seal were presumed lost, but I have an order for a CD of it running at amazon.uk, so let me see what happens ... There also is a nice CD from Band of Joy Records with live performances from three different BBC concerts which gives a better expression of the band's live vibe than the live part of the Sweet Child double album. I think they paved the ground for the whole folk/jazz movement, they were the pioneers. Danny Thompson played with singer/guitarist John Martyn a lot after Pentangle's splitting, any opinions on him among you folkies?

Does anybody know if Iron City is still available somewhere?

Edmond Devoghelaere writes Jaspar suffered from endocarditis, an infectious disease that effects the heart valves. Although he had felt sich for a while, it was diagnosed only after a heart attack on September 1, 1962. The surgeons at Bellevue Hospital in New York suggested open heart surgery as the only means to rescue him, as the valves of his heart were already damaged, but his chances to recover were considered low, and he had to wait and rest six months before the operation to gather sufficient strength, but he died shortly before. No substances involved.

There also is Flute Soufflé, a companion disk to Flute Flight, with two more tracks from the Prestige session with Herbie Mann and another session with Jaspar, Eddie Costa and Flanagan. Bought it recently (OJC) and certainly don't regret it. I especially enjoyed his clarinet playing, there is a track on a session for French Columbia displaying these abilities, titled Clarinescapade. Was reissued by Fresh Sound. There was a bio-discography by Edmond Devoghelaere published in 1967, may be hard to find. All the stuff mentioned in this thread is great; he was one of the best jazz musicians ever to come from Europe, his recorded legacy is still held in high esteem in Belgium.

For anybody interested, here is a link to Paul Weeden's webpage. Seems like it was he who founded the trio. Any other info on this?