felser

My understanding was that the laws changed to not allow past 1962, likely largely due to the work of a certain moptop quartet taking hold in 1963 in the UK and 1964 in the USA.

I like that Joanne Brackeen album a lot.

'Warming Up' is a 1964 recording, so outside of Fresh Sound's 1962-and-before P.D. availability. Some other companies like Enlightenment seem to have (or at least feel) the freedom to go up to 1964.

Yeah, that was all pretty confusing, though one profound classic song ("Every Grain of Sand") came from it. But his spiritual/moral stuff that really hits me is on 'John Wesley Harding'.

Dylan seems to love being a non-thing, enjoying recording a cheesy christmas album and a 3-disc Sinatra tribute, doing his great radio show, etc.

Have never heard that one - have seen it in discographies.

He did a lot of albums on MPS, and they're quite adventurous and pretty great overall.

So we still have 3/4/5/7/9 to ID. Gonna guess Gary Bartz on #3, based on both my ears and your cryptic clues "Avenue" "Neighborhood"?

I hear you, but it was such a loss to us to not have the UMGAA scene recorded more. OK, I think I have #4, it's cut #4 from this , and I am not otherwise familiar with that bass player, who knocks me out on this cut! I have the CD, but haven't listened to it in 15-20 years, need to remedy that. So much music, so little time. What a blessing to have that "problem".

I'll finish Randy's good work on this cut. It's track #3 on this . Wonderful album from a wonderful label. Nimbus West did incredible work in L.A., not sure why Allbach moved the base of operations to Europe, as there seemed to be so much more to do with Tapscott & Co.

This may be my favorite Ponty. With Joachim Kuhn and Philip Catherine:

Galaxy was trying to sell mainstream jazz in the late 70s, a tough push. I thought Keepnews did a nice job with the label. Seems like most of the albums came out on Fantasy OJC series CD's in the 80s and 90s.

Those Warwick LP's like "The Soul of Jazz Percussion"?

This is by far the best of his fusion albums, great guitar work on it:

Well, the long songs and your own commentary style bring out long commentary from me. Sorry in advance, as my meanderings are not nearly as interesting to follow as yours! 1 – “April in Paris” of course. I assume this is the “gimme”, track one from this gem: Love the feel of the rhythm section! Golden time. 2 – Ye old ballad medley. Again feels like it hearkens back to a different era, the 50’s. Second cut is clearly “Summertime”, and at first I was thinking Roy Eldridge, but the forced high notes move me to Maynard Ferguson. Aah, Dinah Washington, so it’s cuts 2/3/4 from this, another gimme! 3 – This one is lovely. Obviously a couple decades later than the first two cuts. Reminds me of Theresa-era Pharoah Sanders. 4 – We’ve now entered serious Felser zone! That’s one strange stereo landscape on this track. Really enjoying the bass playing on this. Seems like it should be Mal Waldron and Gary Peacock from the ‘First Encounter’ album, which is in serious need of a CD reissue, but I can’t match this track to that album. Has to be Waldron and some monster bass player in the 1970’s, correct? He did a lot of this sort of thing, and I gladly have a ton of it, but am not great at differentiating the songs and albums. If for some reason I don’t have this, and it is on CD and doesn’t require a second mortgage to buy, I’ll gladly pick it up. 5 – I like this a lot, too! I’m thinking that Chester Thompson ‘Powerhouse’ album on Black Jazz, but can’t match a cut on it to this. Again, seems like it has to be from the 70’s, wonderful musical time. Whatever this is, I don’t think I have it, and count me in for trying to pick it up! 6 – That’s a pretty tune, though I’m not sure why they try to funk it up on the choruses – sort of gives me whiplash. Also guessing the 70’s on this one, but then, that’s just sort of where my brain lives (60’s and 70’s), so I have mental bias. Rhythm section doesn’t sound present day to me at all, way too much in the pocket. Not really sold on the drummer, but the bass player has my ear big time, and I do like the pianist. 7 – Sort of bashes you in the head coming out of #6. We’ll see if I make it through all 14 minutes. Not feeling it. They can play, and want you to know it. What hath (Mahavishnu) John McLaughlin wrought? Also some Sonny Sharrock in there. They clearly spent their youths memorizing every note on ‘Emergency’. But they’re missing someone to be Larry Young. Actually, it’s growing on me at around the 3 minute mark. But I bet there’s going to be a long drum solo for me to skip through (my general practice). At 5:30 mark, I am now actively enjoying this, the guitarist has won me over. After all, I love those first three electric Mahavishnu albums, and ‘The Inner-Mounting Flame’ was a musical life changer for me. Drummer is more Billy Cobham than Tony Williams. Bash-o-matic. But that’s what this requires to work. Bowed bass and guitar harmonics at 8:00 are making me antsy. Must-not-fast-forward! OK, track is DOA for me at 9:00, and nothing in my skipping forward pulls me back in. 8 - Based on “Sometimes I Feel Like a Motherless Child”. And I don’t do sax quartets, though I haven’t turned this one off yet. Now there's a tuba and a Joe Lee Wilson type of singer. Not feeling warm and fuzzy about this lasting 14 minutes plus, but we'll see. Now a big band just showed up! Strange track. Archie Shepp just showed up for a tenor solo? And he sounds great! So seems like it can’t really be Archie, he doesn’t sound like that anymore, and the live recording quality seems too good to be 70’s Archie. Could be 80’s Archie? Fascinating track. Nice bass solo. Make that a GREAT bass solo. I want it to be from that Shepp ‘Attica Blues Big Band’ set from the 80’s, but it isn’t. I don’t do solo bass albums, but I could maybe do one by this guy. Gotta have this track/album! This is the sort of thing Roy Brooks and Mtume were trying to do on some of those early 70’s albums, but those never came off as good as this cut does (though I love them for their reach – fascinating listens). 9 – A lot of fine bass playing on this BFT. South African kind of vibe, which generally doesn’t appeal to me. We’ll see if I can make it through 12 minutes. It just exited South Africa and entered the Felser Zone with that tenor solo. Sounds like Don Cherry, so I’m expecting this to be from the Abdullah Ibrahim ‘The Journey’ album, but it’s not! He loves his mama, and she sounds amazing to me. I don’t have this, whatever it is, and will be looking to pick it up. Ending seems to hold lots of clues, but I still can’t place it. Absolutely every cut I don’t know draws my interest, finding some of them (4, and especially 8 and 9) will now become obsessions! Thanks so much and can’t wait for the reveal! Could end up being a very expensive BFT for me. Well done! edit: OK, so the singer in #8 would be Dwight Trible, a favorite of both yours and mine. second edit: Is this the source? Wishing and hoping it is something on a legit CD: http://inconstantsol.blogspot.com/2013/05/horace-tapscott-pan-african-peoples.html

Also recommend this

It's a really good album.

With a time of 1:67 on the first cut?

She had the first US charting version (#32 in 1966), but Dionne charted higher (#15 in 1967). I like both versions quite a bit. Cilla Black's version went to #9 in the U.K. in 1966.

I don't either. Matthew Fisher playing a Bach riff on a Brooker-Reid composition. How does that rate a composer credit? Does Al Kooper (who snuck into the session and wasn't even supposed to be playing on the cut) now get composer co-credit on "Like a Rolling Stone" for his organ part? Does Gene Frenkle get composer co-credit on "Don't Fear the Reaper"?

He was the voice you know from "A Whiter Shade of Pale", a truly transcendant event in pop music history. And there was much more worthwhile from Procol Harum beyond that song. He was 76, passed on Saturday.

Noticed this RSD blurb on TheSecondDisc, and looks like the Columbia hyoe Machine is in overdrive for this one: Miles Davis, What It Is: Montreal 7/7/83 (2x12" Vinyl, limited to 10,000 copies) This double LP release showcases one of Miles Davis' final great bands including John Scofield on guitar, Bill "The Other Bill Evans" Evans on saxophones, flute and electric piano, Darryl Jones on bass, Al Foster on drums and percussionist Mino Cinelu. Miles was back in amazing form ("incandescent and iridescent as ever" as Greg Tate noted) when he mounted the stage at the Theatre St-Denis during the Festival International de Jazz de Montreal in July 1983 and this 2LP 12" vinyl pressing marks the first release of this revelatory performance. The recording has been lovingly mixed and mastered and will be included on CD and digitally in the next edition of the Miles Davis Bootleg Series (focusing on the 1981-1985 period) coming later in the year

No interest on my part.