Daniel A

From another genre: Victor Borge. Maybe this is just a side effect from that the format of instrumental soloist, with or without backing, has gone out of fashion? But it seems the desirability of pianos with the general public peaked around the late 50s/early 60s, at least in my country.

Thanks to a video that fellow member TTK posted in another thread I started to look for Dudley Moore clips from the 60s. I was then struck by how well his basist Pete McGurk was playing. Great lines, great tone. To me, he was the real star of that trio. Sadly, he passed under tragic circumstances in 1968, but other than that I know nearly nothing of him, and he doesn't appear on that many recordings that I can see. Do any members have recollections of him or can tell more about him?

I'm only aware of three female members here off hand, and two of them have died in recent years.

Well, during the early years he seemed to go by "Kinny" a lot of the time.

Why repeat mistakes from the past?

I agree that you play differently on a Rhodes, as I mentioned in a post above. But I think that you can still play hard bop tunes. You just do them differently.

After a gig on Rhodes 20 years ago, I dropped everybody in the band off in a rental car, and then realized that I was outside my own house alone with a Rhodes in the trunk. And I lived on the 16th floor... I happened to convince some bypasser to get it out of the car and then just dragged it after me into the elevator and further into the apartment. Those were certainly the days...😄

This might be mentioned in the book (which I haven't read but plan to seek out), but read in an excellent book on the Mission Impossible TV series that the 5/4 selection was intended by Schifrin for the final chase of the pilot episode, but Bruce Geller made it the main title theme because he found it so exciting. A good move, probably.

This is a personal preference, but I quite like the combination of acoustic bass and Rhodes, whereas I am less fond of acoustic piano together with electric bass. I do not have a problem with straight-ahead jazz (according to my definition of the style) played on a Rhodes, if the player uses the instrument to its advantage. I play Rhodes in such situations myself sometimes, and the longer sustain - compared to an acoustic piano - inspires me to use other voicings, often with a more dissonant edge. The "muddiness" can be compensated by adjusting the amp somewhat, so that you get some nice distorsion on the fatter chords (you got to have a good tube amp, though). As for Wurlitzers, I have found them (at least the ones I've tried) to be somewhat too "lightweight" in touch. I just like the more piano-like resistance in the keys of a Rhodes better (again, this will vary quite a bit between different Rhodes instruments, even within the Mark 1 generation).

Lots of great TV scores still remain unreleased as standalone albums. Maybe some of them are lost. Some of the very best scores of the mid 70s were in the first two seasons of Baretta. From what I can recall, Dave Grusin is credited with all or most of them, but there is a curious similarity to some arrangements Tom Scott did around that time, both in terms of a rougher edge than Grusin's other scores and some of the use of woodwinds (it sounds as if Scott was in the band anyway, like he was in the contemporaneous Three Days for Condor soundtrack). And Dave himself did not list the Baretta scores amongst his credits at his own website when I looked a while back. Maybe he was not satisfied? (In an interview in Keyboard Magazine I read decades ago, he complained that the schedule for doing the scores was unreasonable) In any case, he should be, as the scores were great. Still hoping for a luxurious release of those scores. Edit: Just checked the IMDB, and discovered that Tom Scott is indeed credited for a lot of the scores (which I didn't remember from watching the show in the 90s).

100 copies were less than 75!

A little more than 1800 years ago.

Thanks for the reminder, Mike! I just created a playlist of all those Harris/Walton/Carter tracks (and Higgins is on most of them, too). An enjoyable Saturday night ahead! https://open.spotify.com/playlist/2yVIojXaAWgXWVIkilQaIJ?si=NAhdTtg-ToG-FflYfTMLog&utm_source=copy-link&dl_branch=1

I'm just listening to Eddie Harris' "The In Sound". Cedar Walton plays so great on all of this album that I just have to play every track twice!

He's also smoking a cigarette while he's playing, further indicating the above.

Foster with George Coleman in Elvin Jones' group:

Maybe the wrong thread, but Jim R hasn't posted in three years. I miss his contributions.

If you release only one album on a label, how long would you be appearing "courtesy" of that label? I suppose it would be stated in the contract, but how long would someone usually be "under contract"?

Incidentally, 'Middle Jazz' is also the name of a Solal composition.

Then you could as well watch this:

ABBA has reunited after 40+ years and is releasing a new album. To be honest, I knewer thought that would happen. Unfortunately, it will be without two unsung stars; basist Rutger Gunnarsson, who passed a few years ago, and recording engineer Michael B Tretow, who suffered a stroke in 2001 and has no memories left from the ABBA years.

Yes, many years ago. I remember it as pretty generic; suitable as background music for a retro-style cocktail party.

The bridge of Bacana is lovely! I like how the first chord in the third bar of the bridge is such a nice suprice, while still so typical of this style tje Germans excelled in during the late 60s. As much as I love Horst Jankowski, isn't the first track stolen from KPM, though?

Thanks Mike, really interesting! I never realized that the Discovery album was from a different recording than the Impulse album. I suppose I didn't look too closely and just noted that the musicians were exactly the same. I will search this out for sure!

I don't deny that they are singing "boogaloo", and maybe it is a boogaloo, but I was thinking of the "son of Sidewinder" genre (and probably I forgot that the scope of this thread is a bit wider). "Sidewinder" and many of the spin-offs had this rhythmic shift, as well as "Watermelon Man" which came before it. "Pentecostal Feelin'", which has been mentioned as the very first recorded tune of this type on Blue Note, is yet another variation as it is using the classic "bossa" accent pattern. Without knowing anything, of course - and I might be wrong - it sounds to me that for instance the Jazz Crusaders' concept for a groovy tune has other influences. I listened to their album Powerhouse recently, and their version of the little played Bacharach tune "Upstairs" exemplifies this more straight backbeat approach.