Rosco

Don't get too excited but.... UK release date on this is now January 30th! It's been moved forward!!!! Ok, only by a week but by this stage I'm just grateful for small mercies

The car was being spruced up for a buyer, but the sale had now fallen through, he said. Some people get soooo picky!

Kai Winding?

More December 1st- 1944: Duke Ellington records for Victor 1945: Lionel Hampton records for Decca 1973: Duke Ellington recorded in Eastbourne, UK for RCA 1992: Michael Musillami- Glass Art (aka Mars Bars) (Evidence)

Oh, all fair points Mr. Moose. But most of us tend to play two types of gig: The ones where we're playing to 'jazz audiences' (as distinct from 'the listening public') who, it's not unreasonable to expect, should be able to recognise a Duke Pearson or Chick Corea tune when they hear one. The ones where we are playing to 'the listening public' who by this point in time are so distanced from the era of 'the standard' that most of them wouldn't know 'All the Things You Are' from Anthony Braxton's 'Composition 110A (+108B + 69J)'. Rodgers & Hart are as foreign to most general agudiences as just about anything you can play. So... why not push the envelope a litte?

I play with a couple of guys occasionally who have an all-Metheny band although I've not heard them yet. They play alto and trumpet and I'm sure some of Metheny's things would be very interesting with horns. There's a couple I'd like to get together myself.

Ron Carter plays bass on A Tribe Called Quest's 'Verses From the Abstract' (from the album The Low End Theory) and speaking of Cameo, I always enjoyed Michael Brecker's playing on their Word Up album. While Brecker's been on countless pop sessions, he seemed to get given a lot of space on that one.

If this is the gig from July 10th then I remember it being a good one as latter day Miles sets go. Miles was in pretty good shape for it and of course Kenny Garrett was in the band.

Downloaded this myself yesterday after reading this thread. I'll see how it works out. The problem with Launchcast is that the choices of albums are fairly obvious so it tends to play exactly the things you thought it was going to. I'll be interested to see if these systems are less predictable. BTW... my Norton often stops these things from playing. Is there a way round this other than turning it off completely (keep any answers simple... I'm something of a techno-klutz)

Yes, we much prefer tunes like 'So What' or 'A Love Supreme'

It seems sort of similar to Yahoo's Launchcast, which creates a 'profile' based on your ratings of the selections it makes. I don't use it often, but I've discovered one or two nice things that way.

... and the good news is... Columbia are rush releasing the Cellar Door box to celebrate!

I remember a couple of years back a friend of mine playing a David Sylvian (ex of 80s New Romantic band Japan) album when my ears were drawn to some beautiful trumpet playing. Unmistakably Kenny Wheeler. Don't remember the name of the Sylvian album.

I made my own personal stand against drink-driving. I gave up driving.

Man, some people are really trying to rationalize one of the stupidest acts imaginable. Never cool under any circumstances. Ever.

Probably a lot of truth in that. But even whores need to specialize occasionally. So I'm told.

Someone tried the 'my car's broken down and could you loan me 20 pounds to get a train home?' line on me a few years ago. Thing was, the guy had obviously been drinking so it was just as well he was nowhere near a car. I told him I didn't have any money on me, which was a lie. The next afternoon the same guy comes up to me on the same street and spins me the same story. I told him he either needed to get a better car or a memory for faces.

Amen to that. Although the idea of him being 63 is just too weird to even contemplate.

Actually this gets me thinking- why so few Brubeck tunes in the standards repertoire? (Yes I know Take Five is Desmond's, but still...) In Your Own Sweet Way and (maybe) The Duke get played but that's about it. Regardless of how people may feel about him as a pianist (I totally understand his detractors on that count) the man's written some good tunes. Strange Meadowlark is one that springs to mind.

Well said, sir. My point exactly. This thread was partly in response to a recent experience I had putting a trio together for a gig. I assembled a set list of (what I would consider to be) reasonably familiar standards- nothing too taxing, nothing too obscure (Out of Nowhere, Laura, My Shining Hour, Beatrice, etc) only to find out that the bass player (a very good musician) wasn't familiar with any of them. When I asked if he had any tunes that he would like me to consider for the setlist it was all basic 'jam session' warhorses (Summertime, Watermelon Man, Satin Doll). Now I have nothing against playing those tunes (I try and bring the same commitment and creativity to whatever I'm playing regardless) but you do wonder why some players never seem to get beyond the same dozen tunes. My point about 'Idle Moments' (as an example) was that, for me, it meets all the criteria of a great tune- strong melody, beautiful chords, simple but interesting structure- and it comes from a very well known album so would be familliar to a good many jazz listeners (at least I assume so- maybe I'm mistaken?). It's not even a 'taxing' tune; it's simplicity itself. Why play Satin Doll again when you could play a tune that is no more difficult but hasn't been worked to death? For the record the bass player nailed all of those 'new' tunes without any effort. Which is even more puzzling... an obviously skilled player who has no repertoire beyond a handful of blues tunes and basic standards. And he is not, by a long shot, the only musician I've met to have fallen into that trap. Anyway... there's a Sonny Clark tune I was going to add to this list. Damned if I can remember the title though.

I've been meaning to check their CD out... I'll try and give it a listen this week

The ones I have are En Concert avec Europe 1 (RTE/ Trema): March 21 & October 11 concerts at the Olympia, Paris In Stockholm 1960 Complete (Dragon): March 22 & October 13 In Copenhagen 1960 (Gambit): March 24 Live in Zurich 1960 (Jazz Unlimited): April 8 Live with John Coltrane (RKO Unique Jazz): April 9 concert at The Hague Manchester Concert: Complete 1960 Live at the Free Trade Hall (Lonehill Jazz): September 27 The April 9 Hague concert has also been issued as Live in Den Haag (Lonehill Jazz) with some bonus tracks (nice but not essential) and while I've not done a back-to-back comparison the sound quality may be a shade below the Unique Jazz issue. Sound quality on most of these is pretty good (the Paris and Stockholm sets particularly) but all of the Davis-Coltrane recordings from March & April are fascinating. The Manchester concert is in the poorest sound; listenable but with a few extraneous noises. Oh, and the Paris dates have been issued separately on the budget Laserlight label (can't comment on quality). There was a recent discussion on some of these here: http://www.organissimo.org/forum/index.php...871&hl=den+haag

I'm kinda digging the purple option

IIRC Pat Metheny did Ferry as a solo guitar piece.

Apparently they did a survey of a zillion albums by jazz artists to determine which had been recorded most. They've also done a short analysis of the tunes 1 thru 100 and are working on 101 to 200 plus there are recommended recordings and backgrounds for each tune. The years of composition are a little out, but generally it's a nice site.