couw

bob the ball

Via the links page on www.swedejazz.se, I found out about LJ Records and Susanna Lindeborg. Reads as if this is what you're looking for.

Well, for more about Barney Wilen, follow this link. The extensive discussion here may be the reason this track did not generate as muich excitement as it should. I remember I was totally thrilled when I bought this, it was the first Wilen I ever consciously encountered. For a record with the same youthful excitement, I'd say hunt for his Vogue debut, Tilt - seems the BMG CD reissue is OOP again. I think what Vint is looking for is more Wilen in this rather hot cooking setting. Whereas the rest of the JiP Swing '39 disk is indeed in a somewhat similar vein, this particular track does stand out because of the added percussion, which only returns for the take on Minor Vamp (track 11 on the JiP disk); nevertheless this one is way more vavavoom! Wilen is going BERSERK on this one (in his own patented cool as hell fashion of course), he is WAY more restraint on the other tracks. Although I love the shit out of it, I do not think the Tilt album is satisfactory to Vint in this particular sense.

http://www.tornadooffire.com/?* David Copperfield's webpage. The guy's a dork, but the page is really quite nice. Sit down, relax, put your browser on full screen, turn up the sound, dim the lights and click!

Nate, you can always throw up the ball and see who catches it before you announce the actual AotW. I myself have been buying stuff after reading a blurp on a future AotW. If you write up why you think a particular album definitely deserves to be nominated AotW, then I think some people will be buying to join in the discussions; especially if you throw in the whole weight of your writing skills.

who's that anonymous user we have lurking here?

the big party is here! (click)

good choice Peter!

More posting opportunities for ya, Couw! where's catesta?

it figures that we now have three threads on this topic...

oh, heck post the cake twice. more fun!

people who want one, can take a beer in this final minute...

T-10 mins. So, where is everybody? There are hardly 30 people in, a dozen of which are guests. And I baked a cake too! Ah well, the fewer, the more beer.

with love from maren & couw

birhtday rat!

yup, nice clothes, but they STINK when wet!

...and had a set of fuzzy dice, admit it!

as for the accordion/melodica stuff: the first two tracks (#13 & 14) I still like a lot. #14 even more when I put my "Lurie-listening-cap-with-special-ears" on. Track 15 is still a bit of a downer. Indeed a bit boring in its slickness perhaps. That Twin Peaks track has also grown on me after I put my Lurie cap back on again. Still a tad too slick (the ending sucks I think) for my tastes, but definitely with some very interesting interplay. The Lurie cap still on, #17 suddenly enters a whole new ballpark and has several very nice outfield hits. Funny how expectations and setting can influence the hearing. The ending is as slick as in track 15. Still a bit too yucky for couw. Track #18 scores very high if I keep my cap on, in spite of its shameful shortness. I guess nothing much changes once track 19 hits us. More of that stuff I need to be in a certain mood for. I wasn't wearing the right ears for the second half of this BFT before, when I wrote my comments, partly because I generally didn't feel like it, and partly because of what came before in this BFT compilation. I'm liking it a whole lot better now. I guess I do agree with you tough, Vint, that you somehow lost the drive and mood you had so diligently created up to the accordion tracks. It is certainly a valid way of doing the compilation, but a bit more fun might indeed have saved the evening and put an entirely different spin on the thing. Maybe you should have opted for a Marvin Pontiac track

This one has grown on me mucho! Because I knew and love the following track by Gainsbourg, I was sort of underwhelmed by this particular version. Not any more. A great track, pretty nice vocals and cool lyrics. Serge remains a keeper of course.

more stuff with Gainsbourg on board? It's also the little nasty spy movie guitar, isn't it? I am no expert on either Gainsbourg nor Goraguer; I wish I were! I only know that Gainsbourg often has such crazy things going on that are in part true exponents of a pop-culture.

not any more

it did increase your post count though...

Here you are. You should be able to copy paste this using the text selection tool in any acrobat reader though. There seems to be no psw.protection. Reptet - Reptet Monktail An inside/outside jazz quartet deserving of greater recognition, Reptet is comprised of Tobi Stone (tenor sax), Samantha Boshnack (trumpet), Stefan Nelson (keyboards), Benjamin Verdier (bass), and John Ewing on drums. Their self-titled debut was recorded at Jack Straw Studios on January 26 and 27, 2003, however, the quartet has gone through a few personnel changes since then. Bassist Evan Flory-Barnes plays on this recording; newcomers Boshnack and Verdier do not. The first tune on the CD, 'After Before,' is an unpolished jewel. It begins softly in dynamics and slowly in tempo, allowing the harmonic pairing of tenor and flugelhorn to circle repeatedly around three chords in the space of two measures. A delicate melody is established, then kicked into a brisk triplet march, like walking out of a dream on to Bourbon Street. Improvising on the tune she wrote, Stone emits a clear, warm tone on tenor sax. Without relying on an aggressive attack, she plays subtly, with feeling. Like the opening cut, 'Inspired Strut' starts off soft and slow before its first cup of coffee, revealing attractive elements, melodically and harmonically. Composer/bassist Flory-Barnes detracts from the charm of his piece, however, with a hyperdrive solo, technically impressive, but emotionally detached. 'The Gears' is a 4-minute, humorous, 70s-style funk piece fueled by a wah-wah pedal on Nelson's Fender Rhodes, John Ewing's strutting, back-beat rhythm, and Flory-Barnes's back-alley bass riffs. It?s a perfect foil to 'A Bit Nervous,' Reptet's version of a tango with a neurotic twist. 'Open to Morning,' 'Already Afternoon' and 'Resigned to Evening' are free, found-music pieces performed with little planning or direction. The effect can be spooky-in-the-moment, a bit like being in the Twilight Zone, if you don't mind that sort of thing. In all, strong individual performances, group chemistry and collective vision make this an admirable debut. For more info visit www.reptet.com. review by C. Michael Bailey for All About Jazz Seattle March/April 2004

couw used to drink Brand Bier or Gulpener, and Orval on special ocassions. After he moved, it's been nothing but: and Hans, believe it or not, life is a lot better!