Rooster_Ties

Very tempted by the Dex. Can't do Paypal, I'm afraid (I won't give them my bank account numbers, and I've spent down my entire limit with them). But I am tempted.

I'm liking the Eddie Henderson more than I thought on first inspection (i.e. when I spun through the first minute or so of each track in the car, driving back from St. Louis over Labor Day weekend, with my wife in the car). "Heritage" is nothing life-altering, but pretty solid for those that like that sort of thing (and you know who you are, and who you aren't). The AMG Review sums it up pretty well. And FWIW, I certainly like it better than any of the Mizell-produced Donald Byrd albums I've ever heard (none of which I've ever owned).

Solution: Edward Mallet-hands??

Whoah, Frank Mitchell -- as in THIS Frank Mitchell??? May have to seek this one out.

Oh fuck, and that was going to be one sentence per post, right??

Haven't heard it in 15+ years, and must have traded it back then too. Remember it being more 'interesting' than something I really dug a whole lot. Wasn't there a similar album with Chick and Herbie (duo piano), but under Chick's name?? (Or with Chick's name listed first). In any case, I half remember some companion album to this one.

Distant cousins??

In no particular order... > Vocals in a lead role, or any whiff of a hint that the vocals are of the "traditional" jazz variety. > Lack of sidemen listed anywhere on the outside. > CD Playing time less than 37 minutes (in most cases, but not all). > Leader plays too many different wind instruments on the same session (four or more = "no way" - and I'm skeptical with even three). > Two or more boring (overplayed) standards. > The presence of anybody on the recording that I associate with the 'Wyntonian' circle of musicians. and just for Chuck... > Anything NOT certifiably recorded between November 8, 1963 (a.k.a. "Black Fire") and sometime around the 3rd quarter of 1978.

LOL, until the 'Manhattan Transfer' kicked in at 2:30, where I promptly was ROTFLMAO!!

Get on it, people.

I could tell you, but then I'd have to kill you.

Crap, back in May?? I've been this close to buying two or three discs from them (over eBay), and your report isn't getting my trigger finger any closer to sealing that deal.

Two of the greatest things since sliced bread... Dusty hype is mostly to be believed... African Rhythms & Blues - Mombasa --- CD (Item 434718) Spiegelei/Sonorama (Germany), 1975 A sublime blend of spiritual jazz and African rhythms -- and one of the few 70s recordings made by Mombasa, a European group put together by LA trombonist Lou Blackburn! The record's got a much more righteous sound than any of Blackburn's work of the 60s -- a boldness and sense of pride that comes from its blending of percussion, acoustic bass, and soaring horn lines on trombone, trumpet, and bamboo flute! Other African elements slide into the music too -- like bits of kalimba -- and the lack of piano or keyboards on the record makes for an especially earthy sound, one that trades rhythm from the percussion with melodies from the horns in a really magical way. Tracks are long, and the set was recorded with the same post-colonial energy as similar work from Paris or London at the time -- a really righteous groove that longs to be rediscovered! African Rhythms & Blues 2 - Mombasa --- CD (Item 471073) Spiegelei/Sonorama (Germany), 1976 The second album from Mombasa -- and possibly even better than the first! The group have really come into their own by the time of this date -- mixing together jazz and African roots with a sound that's unlike anyone else we can think of -- quite unique in its approach to rhythms, sounds, and solos! The grooves aren't really the Afro Funk you might expect -- and instead, they're based on a headier brew of basslines and percussion, one that's somewhere in a space between Boscoe, The Pharoahs, and Demon Fuzz -- but with a sound that's ultimately different than both. The trombone of Lou Blackburn carries the lead on most tracks -- snaking out wonderfully over the grooves, with a quality that's amazingly soulful, and which almost has him standing head to head with Fred Wesley as a 70s innovator on his instrument. Other members of the group include Doug Lucas on trumpet, Bob Reed on percussion, Alan Tatham on drums, and Don Ridgeway on electric bass -- the last of whom really does a great job shaping the sound of the tunes.

Any opinions of these?? <<click to enbiggenate Wendell Harrison -- Evening With The Devil ... LP . . . $11.99 (Item: 45619) -- Tribe, 1972 One of the rare early albums on the Detroit based Tribe label, now made legendary by the compilations on Soul Jazz and PVine. Tenor player Wendell Harrison leads a group that includes Marcus Belgrave, Charles Eubanks, and Phil Ranelin, and which features occasional poetry by the "Black Messengers". The groove is laidback and spacey, with some nice electric piano, and good mellow solos that have a nice soulful vibe to them. Other parts of the album are a little bit more out, and have a sharp edge to them. Tracks include "Mary Had An Abortion", "Angry Young Man", "Consciousness", and "Rebirth". Wild cover, too! <<click to enbiggenate Detroit Jazz Composers Ltd -- Hastings St. Jazz Experience ... LP . . . $8.99 (Item: 418674) -- Midnite, 1976 Sweet soul jazz from the 70s Detroit scene -- and a record with a ties to the same scene as Tribe Records! The sound here is straightforward and soulful -- a bit of electricity at the bottom and some fluidly gliding horn work on the top -- plus some key vocals from a group that includes Kim Weston in the lead, supported by other female singers -- in a righteous mode that really makes the best tunes sparkle! Other players include Phil Ranelin on trombone, Nasi Hafiz on vibes, Miller Brisker on tenor and piano, and Sylvia Truner on harp -- all working together in a largeish group with the best spiritual energy of groups on Strata East! The whole thing's great -- a beautiful lost treasure, and the kind of record that's rarely carried off so perfectly -- and titles include "Song For M", "A Little Love For You", "Mark I", "Ja-Mil", "Nobody Had To Tell Me", "Arjuna", and "Now You're Gone".

Amen, brother. Amen.

Are you getting your money back?? We certainly hope so, and I if you don't, we should turn Chuck on him again.

That said (and it should be said), nevertheless, welcome!! Might try again with something like "has anybody here ever heard any live airchecks of groups with Joe Henderson and Cindy Blackman together, or Sam Rivers and Cindy Blackman?? I understand she did dates with each of them in '88 and '82. I imagine they're probably amazing." -- and see if any PM's come your way.

Start your own thread. Oh, wait, you already did!!!

Maybe my favorite album by a trombone player... Phil Ranelin's The Time Is Now! (Tribe, 1973/74) / ...and the man himself, on , from more recently -- and playing a horn with a bell that's bent upright (kinda like Dizzy). And a cool pic of Phil, from back in the day...

Just discovered this, and had to post it somewhere -- so why not start a new "corner" devoted to all things trombone.... BassDrumBone (Ray Anderson) - "Insistent" (Berlin 2007) Damn!!

Be afraid, be very afraid...

http://library.thinkquest.org/22673/orchestra.html And FWIW, the alternate string seating arrangement (as mentioned in the link above) is something I've personally seen used here by the Kansas City Symphony on at least 4 occasions (over the last 10+ years). That alternate puts the 1st Violins on the far left (right where they usually are), but then the 2nd Violins on the far right (where the basses usually are), and the violas and cellos in the center (with the cellos to the right of the violas). Here's another link on the subject of the placement of the strings... Debate over Placement of Orchestras' String Sections