neveronfriday

Found it through this board. Thanx! Cheers!

hey! that was my joke already! thief! Oops. I should've actually read all that stuff then, I guess? Cheers!

The soundtrack: ""Popcorn" by Hot Butter (Link to MP3 download page [full version, 1972]) Cheers!

Thanks everyone. I'm still waiting for a reply by an online retailer I tried last night, but I expect it to be the same as from the others: they all list it as available within 1 to 2 days and then let me know within a week that it's unavailable. Universal Germany, who seems to be shipping this one out to the retailers, has none left. So, I guess, for Germany that means nobody can get it anymore. BTW: I tried 6 Amazon marketplace dealers and all 6 had it listed as available right away ... and none had it. On top of that, no used copies are available at the moment. I'd prefer buying in Europe (I've simply had it with all this import, fees and waiting bullsh*t), so I might go the UK or France route ... have found at least one at a smaller second hand shop. Cheers!

Hi everyone, this is one collection I'm still looking for. A recent attempt at purchasing this box set fell through and all attempts at getting a used or new copy have failed. So, if you have one in good shape, preferrably in Europe (but not a must), send me a PM. Thanks! deus62

That thing is sick, isn't it?

There's also this link (True Blue). Nothing new, really, but ...: http://www.truebluemusic.com/catalog/catal...&PKTitleID=7446

Thanks for that information. I'm considering a few days in Copenhagen next summer. Before you go, if you like, send me a PM and I can maybe give you some advice on some Danish musicians to check out who are playing when you're there (all that info is available on various Danish sites) plus directions on how to get to the various venues. Don't forget to let me know as well what kind of music you would like to see. Cheers!

Yes but only after I bought a couple of duplicates last year. Now all Classics discs are listed in a notebook which is referred to before making any new purchases. Opens up a whole new world of possibilities:

New (at a reasonable price): Second hand (and hoping they will be delivered by those German mail bastards): And that completes the purchases of the German dude for this year. Period. And don't nobody tempt me again. You BASTARDS!

There not selling these in Europe (yet). And I'm not a code-free kinda guy. Mind burning the Oscar Peterson Trio '77 and the Eldridge one for me?

Yes, same here, but my years were spent at the new Montmartre in Nørregade (Jazz-Kay ran that one, if memory doesn't fail me, from '76 until 1989/90, or so. Just checked. He did close in '90, that's at least what my photo album tells me). There was still lots of great jazz there, although, as far as I recall, Jazz-Kay didn't really like the music ... he just loved the people who played it. Getz, Webster, Thad Jones, and and and. They were all there, and I spent far too much time at the club. Often until I was swept out by the janitor. A great time.

Now THAT should be fun. Agustín: Give the Blue Note folk a good beatin'. GO! GO! GO!

Chris, could you elaborate a bit on the Teddy Wilson disc? It's high up there on my shopping list, but I've got to make some radical decisions these next months in regard to what I buy and what I push ahead for a while. I have quite a bit of Wilson and am always looking for quality recordings. I would assume the music is at least good, but how's the sound? Thanks!

Tom, one of my fave pieces by Bertholt Brecht is "Es war einmal ein Fisch mit Namen Fasch". It's basically a poem about a fish whose name rhymes with "ass" (shortened by Brecht, for convenience's sake, to "Asch") and he's just a lazy sod, too dumb (being a fish) to work, but not too dumb to flop after everyone once work is done to plunk himself down next to the warm fireplace and shovel in the food the others have worked so hard for. The only thing he can bring to the table is his white ass (... he did bring along a huge spoon as well which, in context of his described inabilities, doesn't really make all that much sense, but hell, it's a parable) and people laugh about that for a while. Of course, when famine strikes, his white ass is neither funny nor sufficient anymore and he gets it kicked. That's Bert Brecht for you, one of our greatest writers. Well, these past BFT's I've been presenting my white ass all over the place without contributing a bit (work, trips, bla, bla, bla). I'm sorry about that, but I've been enjoying the music very much. I hope I don't get my ass kicked before payback time with my own BFT (which, I'm afraid, might not be liked by all that many members of this esteemed board ). Thanks again, Tom. Cheers! Es war einmal ein FISCH mit Namen Fasch

That sounds like one I just have to get. God, doesn't it ever end?

Do you guys carry tiny lists around (font-size 4 to 6) so you don't by accident buy one you have already?

I don't need CDs for that.

Looking forward to it. Actually, the Montmartre club existed for many more years, but it wasn't really (only) a jazz venue anymore. It became a folk/Danish Pop club with the occasional jazz concert (plus some World Music) with dj's (or whatever they called themselves end 70s/beginning 80s) spinning discs after midnight on weekends. Still, some of the finest musicians of the time could be seen at the club. And lots used to hang around there a lot later than '74. Today, one can consider the "Copenhagen JazzHouse" an adequate replacement. From their website: Other good ones are the one in Christiania (that infamous free state which has been an in-spot for quite a number of years now, "Christiania Jazz-Club", and, especially, "La Fontaine" (smack dab in the center of town, in one of the nicest streets, Kompagnistræde 11, not far from the town hall square), a tiny club with some of the hottest jam sessions if a) you can get in and b) you study the programme (and c] you don't mind standing squeezed up next to the piano/organ or trying not to knock the cymbal stand(s) over) . The latter is THE place to go if you know any of the people playing there. There are many other really small venues ... you can find a list of them here: Copenhagen Jazz Festival (venues) (pretty much all the places in the greater Copenhagen area that offer jazz on a more or less regular basis [plus some venues which usually just have jazz for the festival]). Cheers!

Cheers!

And why aren't you in MY band? Cheers!

Exactly! Cheers!

Hm. I only glanced at the other responses (this is about soloing, after all), but next to staying true to yourself and having the music rule a solo - and not the other way 'round - there are other considerations, I think. From a drummer's point of view, speaking of course for those who have a point of view, there are a whole bunch of things that are thrown in the mix to generate what I would call a "good" solo: a) You gotta have chops. There are faaaaaaaar too many drummers around who simply don't have any and build a solo around the same three things they know and have tried out a million times. Also in jazz. Ever heard a Simpon Philips solo? Not jazz, but that should show you what I mean. b) Don't forget the audience. The audience is a major factor when it comes around to soloing. A solo that started off mediocre (from the musician's point of view) can develop into something quite different depending on audience response. You've got to be careful not to be swept away by an audience that wants too much of the simple boom-bang stuff, but an appreciative audience certainly helps. c) There's got to be tension in a solo. I'm so tired of people showing off nothing but chops, boring the audience and the other musicians to death. Let me give you an example that most people would laugh about. Harry Connick Jr., who's quite an able panist (if he allows himself to really let things rip), has some totally unexpected twists and turns in his solos, from disjointed Monk chords that might sound like he isn't concentrating on getting things right to simply adding percussive parts to his solos using the piano as a percussion instrument. No matter what, there's always enough in there to make the audience notice that the guy knows exactly what he's doing, and that creates lots of tension (and fun). d) Re the question if one needs to grab the audience from the get go: I would say yes and no. It really depends on how you grab them. I think making things interesting and maybe challenging can grab an audience right from the start. I'm not a fan of listening to people who come out guns blazing and all, but sometimes that's what's necessary. Most of the time, I think picking up on the current mood of a tune and then toying with it and expanding on it is a pretty safe bet. e) My last 2 cents worth: for me, especially a drum solo must be melodic. Especially in jazz you can find countless drummers who are excellent at using the drums as a melodic instrument, thereby continuing what others in the band have played before and not bashing it to death. But, there are also representatives of the latter group. Cheers!

I don't listen to jazz.