king ubu

Yeah, that sucks! Even more so as this particular album looks like one of the most interesting items included in the box! As for CT: it was clear even with the much better earlier (digipack, around 2003) MPS reissues, that besides some of the fairly adventurous Hans Koller albums, none of the more "out" stuff on MPS would be reissued. Now that Universal Germany has taken full command, it's a pretty sorry thing, with the occasional album (such as the Clark Terry mentioned in my first post above) being the only thing they do more or less right, at all - besides the prestigious boxes, that is. (I doubt that they earn any money with those boxes either, wouldn't hold my breath for more of them to appear!)

Yeah, the Turbanator knows how to put on a show. Last time I saw him (with Lou!) he got down on his knees and played the pedals with his hands. Yeah, he did that, too, on "Come Together" in the second set... hilarious! In fact his "bass" solo didn't include more notes that his usual, basic (but great!) bass lines, but it was a great show he put on!

Max Steiner (Vienna 1888 - Hollywood, CA 1971) - his page on IMDB - wiki - article on Steiner

Wow, that shall be da shit, as they say! At least i was able to hear the Burton Greene concert you heard thanks to that other site....

a quick search didn't help... what's on that twofer? "Kirk's Work" and "Jaki Byard Experience"? Or is there anything else by Rahsaan that's part of the Fantasy holdings? These two LPs exactly - all that Rahsaan recorded for Prestige. Thanks - I'll stay with what I have, then...

I don't think you mean this one: http://www.imdb.com/title/tt0075335/ But Mingus did compose a soundtrack (out on the Atlantic album "Cumbia Jazz Fusion") that wasn't used in the film. (Great film by the way, but "Indagine su un cittadino al di sopra di ogni sospetto" is even much better - both feature stellar performances by Gian Maria Volonte!) Nino Rota absolutely... his final march from "Otto e mezzo" is terrific! (It seems they shot the scene with some Sousa march, Rota only composed his own march after the shooting.) The theme from "Le mépris" is great, too. I don't tend to think in "soundtrack albums" at all... Miles' mentioned above is great to listen to, there's plenty of good moments, more motifs than you usually get. Otherwise I'm rather on the side of those who think Steiner (hey, no one mentioned him yet, I think!), Hermann, Bernstein etc. and Rota, Delerue and a few others for European cinema. Fusco's work for Antonioni strikes me as outstanding, but none of it would even remotely work without the film... And how about "Sweet Smell of Success"! Then what about Fred Astaire? As for soundtracks composed of various songs, I never got the concept of buying that on CD... "Jackie Brown" was fun, and there are some other films who have that sort of compiled soundtrack and make it work in a nice way, but I'd still not get such compilations, even less so if they're filled up with generic stuff... How about Henri Texier? He does some great stuff, too... I recently bought his disc "Lola", from the Tavernier film (which I don't know and am not interested in at all), and that's a fine disc to listen! Also his trio disc, "Remparts d'argile" was a soundtrack, I think - great disc!

Forgot to mention that after the Lonnie Smith concert, I got a free entrance ticket for the concert of Cuban pianist Roberto Fonseca - that was another great concert! I guess some might find his music a bit kitschy... influences (as I hear them) are Rubén Gonzalés, Abdullah Ibrahim, some mediterranean/arab/andalous stuff, and generally Cuban son and also Mexican bolero, I think. His quintet features the great Javier Zalba on saxophones (soprano & alto), clarinet and flute - it was a joy to see him play!

Not much to be found, but his name seems to be spelled Chris Aiello. The Paris gig has been mentioned here a couple of times, for instance in this thread: http://www.organissimo.org/forum/index.php?showtopic=35419 Seems he is young and was a student of Mosca's. Some sideman gig references are all that come up doing a google search.

Nothing like that The scene was caught in the 60s. Different hairstyles (and attire) then! This was shot at the Square du Vert Galant on the western edge of the Ile de la Cité. Another classic kiss (by Robert Doisneau) at the same Square The Square gardien would have made sure that no improper conduct would take place between two ladies! So the photo on the new set is also by Doisneau? Nice photos, both! I thought so, of course (re: the ladies)... but then the guy definitely has something androgynous about him, no?

Holy smokes! Smith was da shit, as they say!!!!!!!! The band really got it together in the second (almost 90 minute! the first was more than an hour already) set. They did some standards (Sweet and Lovely, Willow Weep for Me, a beautiful alto feature Harlem Nocturne), the Beatles' Come Together in the funkiest ever version, and several Smith originals - great great music, loud and stinky as that kind of music ought to be! (I did some thinking and I'm quite sure Larry Goldings' Trio was the only organ group I've heard live before... now that was a whole different thing last night!) You'll find it elsewhere in a week or two, if you know where to look!

Hey, wait, is that two ladies kissing there? Oh-la-la...

All of Jacquet's Verve sessions have now come out on CD! First of all, I tend to think of these recordings in their 12" incarnations, and then we have six 12” LP albums plus the lone so called Cool Rage session from 1958. Here's what's where: Jazz Moode (Clef MGC 700) [18 Jan 1951 (8 tracks) + 21 Mar 1952 (3 tracks)] All tracks on Classics 1254 and Classics 1376 Groovin’ (Clef MGC 702) [24 May 1951 (7 tracks) + 11 Dec 1953 (5 tracks)] All tracks on Classics 1376 and the upcoming Classics 1451. The 1953 tracks were also bonus tracks on the VEE. Port Of Rico (Clef MGC 701) [2 Jul 1952 (4 tracks) + 31 Dec 1952 (4 tracks) + 11 Dec 1953 (3 tracks)] All tracks on Classics 1376 and the upcoming Classics 1451. The 1953 tracks were also bonus tracks on the VEE. The Kid And The Brute (Clef MGC 680) [13 Dec 1954] All tracks on the upcoming Classics 1451 and also on the OOP VEE of the same title Groovin’ With Jacquet (Clef MGC 676) [3 Nov 1955] The earlier part of this session will be on Classics 1451, but the entire session won’t fit. However, I just discovered that this album came out this year on a Membran CD in their Original Long Play Album series, but under its later Verve title Illinois Jacquet And His Orchestra. Swing’s The Thing (Clef MGC 750) [16 Oct 1956] Recently out on a Japanese CD, and even more recently on a Lone Hill Jazz CD, which adds the Cool Rage session the Cool Rage session (part of Verve VE2 2544) [21 apr 1958] Just 4 short tracks that were first released on a much later compilation. I assume they would have been part of Jacquet’s next Verve album, but he and the label split before more material had been recorded, and the session remained in limbo. It’s available on the aforementioned Lone Hill Jazz CD Here are the Classics releases so far: 1945-1946 (Classics 948) 1946-1947 (Classics 1019) NOTE: Includes the Aladdin track that was left off the Mosaic! 1947-1951 (Classics 1254) 1951-1952 (Classics 1376) 1953-1955 (Classics 1451) Not yet released [Post edited to include info about the new Membran CD] Wow, thanks a lot for that research work! Then the two Classics plus the Membran will fill up the gaps! After that it goes on with the Lone Hill discs - I wasn't aware that the first of those contains the last of the Verve material (even though I posted the info myself in post #8 of this thread...) I'll look out for that Membran disc, then! I only have two of those so far (Hot & Cool/Cats & Chick and one by Woody Herman, plus a CDR of the great Vic Dickenson/Urbie Green - not a biggie, they don't pay no one anyway...) - I guess their releases aren't up to latest standards, but it's great to have the music available, for sure! (They're the same company who did the cheapo single discs of Candid and related materials, plus the 2CD long-book Modern Jazz/Blues Archive sets, as well as 4CD long-books, as well as the cheapo and wrongly-annotated 4CD Quadromania sets).

Not *that* great an offer, but still better thatn what I'll likely find the ones I still need for... Just sent in an order for 9 of the 10 new ones (minsu the Kid Ory, that one's part of the Mosaic). That means I'll have all of them, except the Roach (part of the Mosaic), the Miles Ascenseur (only original version, I prefer the CD with all the additional material!), the Prez (part of the Verve box), the Ory (part of the Mosaic), and also I don't have the 4CD boxes or any of these compilations (Sampler, Remixed, 100 Melodies, won't get this new one, either). Oh, of course I have the three "hors série" 2CD set, those are great!

I see there's a special Jazz in Paris sale going on on Amazon.fr: http://www.amazon.fr/gp/feature.html/ref=a...;pf_rd_i=301175

Will this be a compilation of previously released (in the JinP series) material, like that 5CD box they did a couple of years ago? (The 100 most beautiful melodies or something like that it was called...) edit: this one I meant: The 100's Most Beautiful Melodies

The biggest no-brainer of all time. Yes, yes, yes ! I thought so... will probably catch the late set at 10:30, the first is arond dinner time...

I could catch Dr. Lonnie Smith for free tonight - should I go? Any good? He'll do two free sets with an outfit called "The Original Grooves": Martien Oster (g), Miguel Martinez (as), Gijs Dijkhuizen (d) - sounds like a dutch band with spanish alto sax player... none of the names are familiar to me... should I try and catch them?

my mail: Hi, > > I'm very sorry to hear that you have to cancel said order. However, it was a fantastic offer in the first place and I was not the only person suspecting you might never fill it in. > Still I don't think it's very friendly on your side to put up such an offer, have me wait three weeks with delay notices, just to end up cancelling the order, in the end. Not that you're the only internet-selling company doing that, but I'd not have expected that from Amazon, really - rather a let-down! > > Regards, > Flurin Casura Got a looooooooooooooooooooooooooooong standard pre-fab answer - instead of the 5£ gift coupon I was expecting... suckers! Not good customer service to send out pre-fab messages in reply to that - telling me that my card hasn't been charged and crap like that, yeah, I'm so dumb!

just got my cancellation notice, too - sent them a mail complaining about this practice... almost caiman-like, sucks!

I put "jazz" in parentheses exactly because of that... the live concert I saw and the others I've heard from recent years always seemed nice to me, thoughtful, slow music, and her voice I've always liked a lot, so... On the other hand I'm not at all interested in contemporary jazz singers doing standards and mainstream stuff... different tastes here, I guess, but how boring it would be if that wasn't so!

Don Ayler - In Florence 1981 - The sleevenotes (taken from here): “It is not at all strange to see in Jazz lesser known musicians who, even if they have a decisive voice in groups or schools of great importance, find their own road continuously blocked by the all pervading influence of top-class musicians and therefore they are inclined to take the expressive idea and the same artistry, transforming both into their own individual voice. The case of Don Ayler, a musician from Cleveland, is a typical example. Don was born Oct. 5, 1942, brother and faithful partner of the famous Albert, with whom he collaborated from March '65 to February '68. His formative years were conditioned and in a certain sense dominated by Albert, so that he even changed his first instrument, alto sax, into cornet, and finally trumpet. But the influence went beyond the choice of the instrument; the innovative power and the strong expressive voice of Albert transformed completely the psychic and emotive personality of Don. When Albert died under mysterious circumstances Don was silent for many years, and only very recently his painful and emotional voice is heard again. This voice gives sound to the authentic and original music of Don Ayler, lyrical and with the full authority of a jazz-tradition, firmly anchored in the styles of a Roy Eldridge or a Frankie Newton, wedging itself into the bop and post-bop era of a Dizzie Gillespie or a Clifford Brown. In Don we can always feel the presence of the old traditions; whereas Albert expresses himself in an angry shout, Don turns towards a subtle, melancholy gasp, often motivated more by feeling than by formal technique. The drama lived by Don in his music has no longer the tragical connotation of the free jazz of the sixties. His approach is a more personal emotion whose drama results from bad experiences in life, without probing for the cosmic and omnipresent expansion that sought expression in his brother's music. Don Ayler expresses in a smaller and more personal world his painful and suffering notes, insinuating with deep feeling the soundtrack of the problems of life, that are the problems of a man segregated in a ghetto where he represents the loser and not the winner. Hence also the need for a solid anchorage to the common origins and backgrounds, the primeval need to find oneself back in history, even in a ghetto, and not an outcast even there. Accepting this reality costs pain and suffering, but substitutes the desperate cry of free jazz with a feeling of hope, however weak. The music presented here was recorded in Florence, Italy, on July 18, 1981. We find Don Ayler active after a prolonged period of silence because of personal problems, a silence that lasted for twelve years, interrupted only by sporadic appearances in the Cleveland area. It should be noted that up to now no record has ever been published under his name; this record therefore is the discographical debut of a famous and well-trained musician, who however lost contact with the recent and not so recent jazz expressions. The free of Don Ayler and his six musicians who surround him in this performance in Florence is like a veil covering the genuine and substantial black expression found in that great melting pot that is to-days Great Black Music. It is hard to label music, but the musicians themselves give the answers on this record: an emotive and emotional climax, where they enter in polemics with those musical forms that are too lucidly cerebral, forms that are victims of their own cold and suicidal introversion. Brother Albert followed a vastly different musical path, and vastly different are also the most recent jazz-expressions, but of Don Ayler we can state without fear of contradiction that he is the echo of a sound that never existed, a sound risen from deep oblivion... GIANFRANCO CASCELLA *** DONALD AYLER: Interview taken by Gianfranco CASCELLA. Transcribed by Francesco MAINO. Florence, Italy, July 24, 1981. CASCELLA: We know about your life in the period when you played with your brother Albert, from 1965 to 1968, a span of four years. How was your life before then, and how has it been since then? AYLER: My father and my brother used to play in the church. My father played the violin and the tenor sax, professionally, and my brother played the alto. We would go to church: my father would have us dressed up every Sunday to go to church and to Sunday school, and after I would go to the theatre, to the show, moving picture, but we would be in church most of time. Back when I was about sixteen I started out on the alto, then, my brother was playing the alto, and my father said that's enough alto in the house, so I picked up the trumpet: I had a natural ability to learn it, I had a natural ability on the trumpet, so next thing I know I was playing the trumpet and I practiced for three months, nine hours a day. C.: When did you begin playing professionally? A.: Well, we got together both me and my brother. I had saved up enough money and I went to Sweden in 1964, I went to Stockholm and I stayed in Stockholm for two and half, three months. I hitchiked to the North Pole, and to Yuk Muck Rock, yeah... We come up to New York in 1965, and at the same time we practiced two hours a day. It was very rough there, life was very tough, I mean, I suffered from malnutrition: one time we played a job, five dollars for six hours. The first thing I ever did was the one with John Coltrane: "NEW WAVE IN JAZZ", you remember that, that was the first one. The second was "BELLS" at Town Hall, we recorded for Bernard Stollman at Town Hall, a one-side, I guess you could say, hit, "BELLS", and then in the Fall of the year we did "SPIRITS REJOICE" and it was a nice recording, pretty fair I guess you can say. After that I got in contact with John Coltrane: talked with him on the New Year, 1966, and he helped set up a recording date for me and my brother, that was the album "LIVE IN GREENWICH VILLAGE", at the Village Vanguard and the Village Gate, yeah... After that we went to Europe, in November of 1966 and we recorded and played on TV all over Europe, and then we came back, and John Coltrane helped us get together, like... C.: Was your brother together with you and John Coltrane? A.: Oh, we played the thing... February 1966. We played "MY FAVOURITE THINGS", we all played, you know, they booed us because they were not ready for the music at that time, they booed us, you know. This was recorded in Czekoslovakia, yeah, yeah, then from that period on, 1967, we did another recording, I'm not sure if it is 1968, it is 1968, the name of the record was "LOVE CRY", yeah, we played "LOVE CRY". C.: Did you compose or arrange any tune for "LOVE CRY"? A.: No, "LOVE CRY" is all by Albert... C.: Did you compose or arrange any other tune? Possibly "JESUS". A.: No, my tune was "OUR PRAYER", that was my recording, my composition too. "LOVE CRY" is all by Albert. During a period when I came back from Europe in 1964 I came over the ideas of "OUR PRAYER", that was first, and then "THE TRUTH IS MARCHING IN" came later. They wrote in the album that "THE TRUTH IS MARCHING IN" was first, but "OUR PRAYER" was first. C.: How do you feel about the mysticism of your brother? About his interest in God, in the church, in the spirit? Do you agree with his ideas? A.: Oh, basically we had... we were brothers so we have a lot of ideas that was close to each other, you know... C.: You were with your brother at the funeral of John Coltrane. What do you remember about that? How many people were there, thousands of people? Black, white? A.: At the funeral I was present, right, everyone was there, yes, I mean, not only musicians, but people from all lots of life, all colors from all nations, because people understood what John Coltrane stood for. I remember seeing Stockeley Carmichael, Rapp Brown... Yes, I remember, my brother and Ornette Coleman were supposed to play, and we played at funeral in St. Peter's Church. I think that everybody cried when they heard that he had died, you know, and I cried when I heard about it, I cried when I heard that he had died, but after a while I realized you couldn't bring him back in the world, so, you know, I just played the best I could, I think I played some of the best music of my life at old John's funeral, yeah, the music was recorded, we heard it, very spiritual music, very spiritual. C.: There are so many different versions about the terrible death of your brother. Can you tell us something about it? How did you learn that your brother was dead? A.: I was not in New York at the time, I was in Cleveland. We found out about it in Cleveland. They said that they had his body in the morgue, so my father, my mother and me, we went up there and we claimed the body. C.: But what did the police have to say about it? A.: They say it is mysterious, and that's all they can say... yes, it is hardly impossible... no, nothing, nothing... C.: After the death of your brother you seem to have stopped playing for about ten years. What was your experience of the music since then? A.: I didn't play for about two and half years. Then Mustafa and Al Rollins got me interested in playing again... C.: Who is Al Rollins, a relative of Sonny Rollins? A.: No, he is a guy in Cleveland who plays tenor, he is not a relative of Sonny... he is not with us now, he didn't come over to Europe because I didn't feel he was ready. At the beginning I would be just practicing, me and Mustafa and Al Rollins, we practiced every Tuesday, we were doing the same songs that we are doing now, and that's the reason why Mustafa knows most of the songs that we are playing now, because we have practiced for years. In the last four years I played the Cleveland State and I played the Peabody's Cafe, and I played another bar where I have been working, work this space, several times. During the period that we were practicing together, Mustafa and Al, I played with Tony Smith... Tony came to town and we played together during that period of time... C.: Where was that, just around Cleveland, or elsewhere in the States, New York, California? A.: Well, right now my mother had a stroke, and I am trying to be around to give her support, yeah, and without that, I'll try and move my base probably up to New York, you know... C.: Are you happy with your present group? A.: Well, I think that all we need to do is to get more work, that is all we need, just more work... C.: Of the tunes you play, which is the one you prefer?A.: I like "CHANGES COME", where I go up on the trumpet, real high, yeah. C.: Do you feel you are still in the jazz scene? Do people remember your name, ask you for interviews and the like? A.: Oh, I made one interview with, the one that, what's his name, let's see, what is the name of that... CADENCE, yes, it is Bob Rusch, yeah. C.: What are your plans for the future? A.: I hope to come back in the Fall of the year and travel all around Europe, and do festivals, club dates and everything. I Plan to go to Paris, Stockholm, Germany, Finland, Copenhagen, Denmark, and, let me see, maybe England. C.: We all wish you good luck.”

Will see singer Susanne Abbuehl in a couple of hours, with her band plus special guest Michel Portal (I only realized he's playing, too, a couple of days ago!) She's got two CDs out on ECM, the first of which I own, "April". She studied with Jeanne Lee and her approach to (jazz) singing is rather special, mostly or exclusively slow music (she calls it "rubato music" in an announcement from an October '06 concert recording I've heard). Songs either consist of jazz compositions she adds words to (by the likes of Carla Bley or Sun Ra), or of texts/poems/lines by the likes of e.e. cummings or James Joyce (it seems most of her second disc, "Compass", is built on "Finnnegan's Wake", but I don't have that disc yet), to which she adds the music. http://www.susanneabbuehl.com/ I've seen here live at the same festival six years ago, when her career was just about to take off, the first ECM album just having been released. I'm quite happy to be able to catch her again! Teatro Ponchielli - Cremona - 11.06.2006 - photo by Danilo Codazzi

I've heard some of it, I found sound clips online once but I'm not there any available now. It's appears to be mostly jazz in semi-symfonic settings; big band or larger ensembles, choirs etc. There are improvised solos, but the works have very "composed" settings and occasionally seem a bit stiff. Ah, I see... I wasn't interested really in that one, now I'm even less interested... the only Gulda I have is that early album with Idrees Sulieman, Jimmy Cleveland, Phil Woods and others, "Gulda at Birdland", from 1956, and even that I got for the band, not for Gulda himself... and I found it in a sale, otherwise I wouldn't have bought it at all...

just for the sake of completeness, here's the info on the other boxes done by Universal Germany in recent years: Klaus Doldinger - Early Doldinger - The Complete Philips Sessions (CD) 2006 Boutique | CD 060249877999 CD 1 [1.] Bluesy Toosy 4:49 [2.] Be-bop 4:13 [3.] Delilah 5:08 [4.] Well You Needn't 5:40 [5.] Blues For George 6:48 [6.] Solar 4:12 [7.] Stars Fell On Alabama 4:40 [8.] Signal 3:45 [9.] I Didn't Know What Time It Was 3:12 [10.] Woody'n You 5:27 [11.] Recado Bossa Nova 2:43 [12.] Copacabana 2:05 [13.] Chega De Saudade 4:49 CD 2 [1.] Waltz Of The Jive Cats 8:09 [2.] Blue Note Samba 5:39 [3.] Smoke Gets In Your Eyes 5:40 [4.] Groovin' In Berlin 3:44 [5.] Minor Kick 4:27 [6.] Careless Love 8:54 [7.] Ack, Värmeland du sköna 2:15 [8.] Two Getting Together 7:27 [9.] Fiesta 4:48 [10.] Viva Brasilia 3:35 [11.] Insensatez 4:18 [12.] Subo 3:14 [13.] Malaguena 4:01 CD 3 [1.] Negra Sin Sandalia 5:00 [2.] Recado 3:22 [3.] Argentinia 3:45 [4.] Guachi Guaro 4:43 [5.] Praeludium Nr. 3 3:22 [6.] Shakin The Blues 4:57 [7.] Quartenwalzer 4:55 [8.] That Bluesy Sound 5:34 [9.] Tears 4:52 [10.] Five For You 5:51 [11.] Run Baby Run 4:23 [12.] Watch It 4:50 [13.] Just A Little Bit Of Soul 4:16 CD 4 [1.] The Surrey With The Fringe On Top 6:42 [2.] What's New? 3:59 [3.] Midnight Session 3:34 [4.] For Two Only 5:24 [5.] Sweetie's Bounce 5:50 [6.] Joe's Blues 3:39 [7.] Like Someone In Love 15:15 [8.] The Night Time 2:46 [9.] Pavana 'The Earl of Salisbury' 4:16 [10.] Ciacona in F minor 5:24 [11.] Waltz Of The Jive Cats 3:11 [12.] Quartenwalzer 9:26 Art van Damme - Art van Damme - Swinging The Accordion On MPS (CD) CD 1 [1.] That Old Black Magic 2:10 [2.] Parla Nova 2:54 [3.] Runnin' Wild 2:27 [4.] Here's That Rainy Day 3:41 [5.] Tonga 3:01 [6.] Robbins Nest 4:40 [7.] Topsy 2:38 [8.] Amoureux 3:09 [9.] Tangerine 3:51 [10.] Soon It's Gonna Rain 2:16 [11.] Ode To Cleavage Or The Camel 4:00 [12.] Playing Around With The Blues 2:15 [13.] Satin Doll 3:07 [14.] Autumn In New York 2:51 [15.] Jeannie With The Light Brown Hair 2:16 [16.] Blue Light And Shadows 2:44 [17.] Love Walked In 2:52 [18.] It Could Happen To You 3:32 [19.] Ecstasy 2:36 [20.] Swanee 2:22 [21.] Since I Fell For You 4:21 [22.] Easy Swing 2:25 [23.] Nancy (With The Laughing Face) 4:03 CD 2 [1.] Cute 2:47 [2.] One Morning In May 2:53 [3.] Gentle Art Of Love 3:43 [4.] Please Don't Talk About Me When I'm Gone 2:54 [5.] I Wished On The Moon 2:25 [6.] I Concentrate On You 2:21 [7.] Chicago 2:50 [8.] Moxi 3:29 [9.] Just In Time 2:19 [10.] It's Over 2:50 [11.] Speak Low 3:01 [12.] I Cover The Waterfront 3:15 [13.] Cherokee 3:39 [14.] Love For Sale 2:32 [15.] You Don't Know What Love Is 3:11 [16.] I Get A Kick Out Of You 2:34 [17.] Happy Moments 2:13 [18.] After You've Gone 2:57 [19.] Summerwind 2:54 [20.] My Romance 2:26 [21.] Lullaby In Rhythm 2:37 [22.] At Last 3:36 [23.] Andy 3:16 [24.] Darktown Strutter's Ball 2:18 CD 3 [1.] I Got Rhythm 3:11 [2.] Give Me The Simple Life 2:40 [3.] All The Things You Are 3:34 [4.] Pandora 2:13 [5.] Love Me Or Leave Me 2:36 [6.] Pennies From Heaven 3:32 [7.] Don't Get Around Much Anymore 3:07 [8.] Lover Man 3:26 [9.] If I Had You 2:12 [10.] Avalon 2:20 [11.] Day In Day Out 2:53 [12.] For Sale 2:32 [13.] The Way You Look Tonight 2:41 [14.] Yellow Days 3:59 [15.] The Lonesome Road 3:09 [16.] Wave 2:51 [17.] I'm Beginning To See The Light 2:46 [18.] Sweet Georgia Brown 2:37 [19.] Undecided 1:57 [20.] Doree's Tune 2:13 [21.] Bernie's Tune 3:19 [22.] Watch What Happens 2:19 [23.] Stars Fell On Alabama 3:29 [24.] 'S Wonderful 2:43 CD 4 [1.] Easy To Love 2:06 [2.] Shiny Stockings 2:53 [3.] Lush Life 3:11 [4.] Sunny 2:52 [5.] Love Is Here To Stay 2:16 [6.] Snowfall 3:26 [7.] Four Brothers 2:38 [8.] O Barquinho 3:12 [9.] On A Wonderful Day Like Today 2:41 [10.] Love Is Blue 2:38 [11.] What The World Needs Now 1:38 [12.] Poor Butterfly 2:48 [13.] Cheers 2:55 [14.] Deep Night 3:17 [15.] Hot Action 2:48 [16.] Viniette 3:32 [17.] Patou 2:37 [18.] I Only Have Eyes For You 3:06 [19.] Pick Yourself Up 2:08 [20.] Paco 2:35 [21.] Your Turn 3:00 [22.] How Will I Forget 4:28 [23.] A Foggy Day 3:00 [24.] The Best Thing For You 3:02 CD 5 [1.] Turnabout 2:19 [2.] Sunday Kind Of Love 2:05 [3.] I Want To Be Happy 2:13 [4.] Tenderly 3:19 [5.] Gone With The Wind 3:24 [6.] Everything I've Got 2:21 [7.] Let Yourself Down 2:00 [8.] On Green Dolphin Street 3:41 [9.] I Saw Stars 2:19 [10.] Small World 2:14 [11.] It's Easy To Remember 3:04 [12.] The Man I Love 2:09 [13.] Blue Lou 2:35 [14.] It's A Blue World 3:09 [15.] My Kind A Love 2:29 [16.] Laura 3:37 [17.] Too Close For Comfort 2:28 [18.] When Your Lover Has Gone 3:12 [19.] The Song Is You 2:17 [20.] The Things We Did Last Summer 3:37 [21.] Cheek To Cheek 2:40 [22.] On The Alamo 3:41 [23.] Jim 3:10 [24.] Diane 2:59 thread about this here: http://www.organissimo.org/forum/index.php?showtopic=30594 Eugen Cicero - Swinging The Classics On MPS (CD) 2006 MPS-Records | CD 002894762788 CD 1 [1.] Solfeggio in C minor 5:39 [2.] Sonata in C 3:55 [3.] L'adolescente 5:25 [4.] Bach's Softly Sunrise 6:13 [5.] Fantasia in D minor (Andante, Adagio, Allegretto) 5:23 [6.] Erbarme dich, mein Gott (from the St Matthew Passion) 5:54 [7.] Grande Valse brillante in E flat, Op. 18 4:12 [8.] Prélude in A, Op. 28, No. 7 8:29 [9.] Valse in C sharp minor, Op. 64, No. 2 5:40 [10.] Prélude in C minor, Op. 28, No. 20 3:33 [11.] Etude in E, Op.10, No.3 5:38 [12.] Prélude in E minor, Op. 28, No. 4 7:10 CD 2 [1.] Introduction from Swan Lake, Act I, Op. 20 6:28 [2.] Più mosso from Swan Lake, Act II, Op. 20 4:39 [3.] Andante and Theme from Swan Lake, Act II, Op. 20 7:36 [4.] Ouverture Miniature from The Nutcracker Suite, Op. 71a 5:08 [5.] Mélodie antique française 8:02 [6.] Chanson napolitaine 5:35 [7.] Hungarian Rhapsody No. 2 8:03 [8.] Etude No. 2 in E flat 5:57 [9.] Etude in G sharp minor (La Campanella) 2:50 [10.] Liebestraum 5:11 [11.] Etude in A minor (La Chasse) 4:57 [12.] Consolations No. 1 4:45 [13.] Sogni d'amore 3:50 CD 3 [1.] Dir gehört mein ganzes Leben 4:47 [2.] Seltener Weizen, seltene Gerste, seltenes Korn 4:50 [3.] Memories Of Clausenburg 4:10 [4.] Süßer Klang ertönt 4:36 [5.] Nur ein Mädel gibt es auf der Welt 4:16 [6.] Dort in der Ferne 4:16 [7.] Im Mondenschein 4:54 [8.] Der Schlitten eilt 4:38 [9.] Und Bach? (after Prélude in C minor) 4:01 [10.] Rumänische Volksweisen 4:59 [11.] Rumänisches Volkslied 3:53 then there's this box by Friedrich Gulda, no clue what it actually contains - well, it's stated in the track listings, but I have no clue if that's in some way jazz-related or not... Friedrich Gulda, Friedrich Gulda - Midlife Harvest (CD) CD 1 Sieben Galgenlieder nach Texten von Christian Morgenstern Original Version [1.] Vorspiel 3:10 [2.] Galgenberg 1:37 [3.] Bundeslied der Galgenbrüder 2:12 [4.] Der Hecht 2:27 [5.] Der Seufzer 2:00 [6.] Mondendinge 2:40 [7.] Der Zwölf-Elf 3:54 [8.] Galgenbruders Frühlingslied 1:14 [9.] Nachspiel 1:49 Concertino For Players And Singers Original Version [10.] 1. Movement 7:09 [11.] 2. Movement 7:14 [12.] 3. Movement (Finale For Ludwig) 5:23 [13.] Little Suite 17:10 Piano Concerto No. 1 Original Version [14.] 1. Movement 8:15 [15.] 2. And 3. Movement 13:00 CD 2 Sieben Golowin-Lieder Original Version [1.] Wann i geh 11:07 [2.] Du und i 3:36 [3.] Wenn du mi einmal loswerd'n willst 3:03 [4.] Auf Visit' 4:13 [5.] Die schöne Musi 9:12 [6.] Selbstgespräch im Kasgraben 6:39 [7.] Andrerseits 4:28 Play Piano Play Original Version [8.] 1. Part 1:54 [9.] 2. Part 3:35 [10.] 3. Part 4:02 [11.] 4. Part 4:01 [12.] 5. Part 2:29 [13.] 6. Part 1:48 [14.] 7. Part 4:37 [15.] 8. Part 3:31 [16.] 9. Part 1:54 [17.] 10. Part 3:04 CD 3 [1.] Variationen über "Light My Fire" 13:11 [2.] Variations 12:18 Piano Concerto No. 2 Original Version [3.] 1. Movement 13:08 [4.] 2. And 3. Movement 16:22 Music For Four Soloists And Band Original Version [5.] 1. Movement 9:40 [6.] 2. Movement 8:26 [7.] 3. Movement 6:46 CD 4 [1.] Fantasy For Four Soloists And Band 18:03 Suite For Piano, E-Piano And Drums Original Version [2.] Ouvertüre 4:03 [3.] Bossa Nova 4:30 [4.] Aria 4:35 [5.] Finale 3:46 [6.] Prelude And Fugue 4:05 Sonatine Original Version [7.] 1. Movement - Entrée 5:30 [8.] 2. Movement - Ballad 6:38 [9.] 3. Movement - Shuffle 4:16 [10.] Variations For Two Pianos And Band 17:28 CD 5 [1.] Blues Fantasy 10:27 [2.] Meditation (nach einem Motiv von Fritz Pauer) 11:55 [3.] Duo 19:09 [4.] Poem für Friedrich Gulda 9:42 [5.] Anima in Heidelberg 1972 11:10

and for a change an interesting new single disc is out in the cheapo series from German Unversal, Clark Terry's "Clark After Dark - The Ballad Album": 2007 MPS-Records | CD 060251744144 [1.] Misty 5:31 [2.] Nature Boy 4:24 [3.] Georgia On My Mind 5:23 [4.] November Song 5:06 [5.] Clark After Dark 6:14 [6.] Willow Weep For Me 5:48 [7.] Yesterdays 4:25 [8.] Emily 4:29 [9.] Angel Eyes 5:32 [10.] Girl Talk 5:05 Too bad they stopped their great MPS series of a couple of years ago only to replace that with these cheapo "Jazz Club" albums (most of those are just compilations, mostly falling under "stoopid music", rather than "jazz"... a notable exceptions is Dizzy Gillespie's 1968 Berlin concert album, as well as the Bond album by Ingfried Hoffmann, the hammond organ player of the Doldinger quartet - two fine albums!)