king ubu

I haven't heard much of Butcher's work, but I got this disc from a kind fellow rat: And I find it very good, to say the least! AMG blurb by Steve Loewy: I also heard a live set (on radio, alas) by the trio with Dörner & Charles, and recently got their Potlatch disc (but didn't play it yet).

Today's Frankfurter Allgemeine again says all the samples could be matched. Also they report about a half hour phone call between Armstrong and Leblanc, during which - so says A. - L. did not mention the whole affair at all - but then proceeded to state that A. has "abused" his French fans... And "L'Equipe" has confirmed that they know about the identity of all those cyclists whose tests have yielded positive results. But then again, who cares...

Yesterday played disc 1 and most of disc 2 from the Kid Ory set. Disc 2 was more to my liking, but it all sounded good!

Power to Wayne! May he continue his astonishing run! Ever since he started his quartet I have again and again been fascinated and astonished and well, overjoyed, by the incredible music he produces! Not to mention all his achievements in the past...

Speaking of Miles' "Someday My Prince Will Come" - there's a stunning Mobe solo there, too, I think on "Old Folks"? Perfectly constructed and beautifully executed. Also I have a soft spot for Miles' solo on the Carnegie Hall performance of "Teo" - it's loud and high, and not all that sophisticated, but I just love it...

Well, Greg LeMond was actually Grégoire LeMond IV, his grand-grand father, Grégoire LeMond I, he swam across the pond from the Brétagne, drawing behing him a small nutshell of a boat housing Greg LeMond's grand-grand mother, a hmmm Casta-like type of typical French woman... So those were the French origins of Greg Lemond's success, thus it's only natcharal they like him over there (as an aside, back when I was a kid of maybe 11 or so, I once hunted for an autogram of LeMond... he was sort of hero back then, for the boy that had just started cycling... still remember that!)

Masqualero mainly is Arild Andersen (b) and Jon Christensen (d) - both big league guys (at least over here). Go to Andersen's homepage and check his sideman discography to get an idea of his credentials. Chirstensen played in Garbarek's European quartet, so you should be familiar with him. His track record is as impressive as ANdersen's, I'd say, if not more impressive. Balke played on one Masqualero album, trumpet player Nils-Petter Molvaer (you should be familiar at least with his name, I assume) on three, but I'm neither familiar with Balke nor with the group's sax player, Tore Brunborg.

Oh c'mon guys! Someone gots to speak up in favour of Nat! He wrote some of the best tunes, in his best moments his playing is as poised and soulful as Cannon's... he was in the same league as those others mentioned - his problem only was that he did not go out on his own for quite some time, and when he did, the days of that kind of jazz the Adderleys played were quite gone... Oh, and don't miss Nat in the two-brass frontline with J.J. (to be heard on the soon OOP Mosaic collecting all of J.J.'s Columbia Small Group sessions - one of the best Mosaics ever done... not only my opinion, I think). And remember: Nat got as much money as Cannon - no matter who was billed the leader. That was a deal they made early in their career(s).

related to "other" "real" Armstrong

For what it's worth, Amazon.de has "Audio CDs" listed, and a release date of Sept. 27 - but very little info, so far.

Thanks for sharing all of this! A beautiful building, indeed! Some info on that lady: Marquise de Sévigné I haven't checked out any Ferrari, which kept me from chiming in with the usual r.i.p. posts, but I've read about him here and there. Any recommendations?

the real Lance...

c'mon, we're all Texans anyway... what's the point. Berigan's post above is pretty ridiculous. Yeah, sure, some jealous Yurpeans have consumed EPO, peed some samples, replaced them with those that had a big fat "Lance Armstrong, Texas" etiquette on them, doing that killed seventeen South African guards (same company that took care of Mr. Bremer in that new eastern Texan colony there)... this is a most likely scenario, indeed! De par ma chandelle verte, je ne comprends pas.

I got a Mark VII alto (built 1971) for aound 1200 or 1300 $ a couple of years ago... love it!

Got to add some Cannonball... my favourite: - Love for Sale (Somethin' Else) but there are others... - Freddie Freeloader (KoB) - Dat Dere (Them Dirty Blues) he had his pet licks, sure, and plenty of them, but he had buckets of soul! Then there's that terrific trumpet solo of Bennie Bailey's on "Swiss Movement" (McCann/Harris), where in the middle the crowd goes all applauding (the story shared in the liners: he played with closed eyes, thought they'd dug him that much, but then he opened the eyes and noticed that they clapped for Ella who'd just entered... still the solo is da shit!)

We assume you assume we know who that Cantonese chap is? Sorry, but we remain clueless

I have always loved his solo from "Hoe-Down" on that album. ← For me it's the one on the title-track, too! What a fantastic and fascinating and so simple-sounding solo that is!

BLASPHEMY! :rsmile: ← Well well well... you're aware about old père ubu being a sinner, aren't you?

Well yes, I enjoy browsing that site a helluva lot more than watching a soccer game!

I don't care a sh*t about soccer, but here's some fun stuff for those who understand German: http://www.ja-gut-aeh-ich-sag-mal.com/

hmmm... got to check first, didn't take notes about what tunes are played!

Are you sure it's three? I have two tracks, 24 minutes. The other musicians are Bora Rokovic, Jimmy Woode and Kenny Clare.

Not that I'm really a musician, but... I started with clarinet at what... age 11 or 12, I think, and got a tenor (finally!) around 17 or 18. My teacher insisted he would tell me when the moment had come, and - of course not tone-wise, but that's something you'll never stop working on - I came to gripes with the tenor within 3 to 4 weeks. Easier fingering, much easier, much less force needed (I've since lost my clarinet "chops", regrettably, since I stopped playing it now and then... rule of thumb: you have a problem if you don't play clarinet for three days, and I tell you this is true!). Of course I quickly played some Vandoren 4 reeds, and I needed almost one a day, until I came to develop a softer embouchure working well on tenor (I still play 4 reeds, but the V16 now, and not some plastic mouthpiece but an Otto Link metal). I've never really heard of someone going the other way successfully... I cannot imagine doing so. It requires a lot of work and patience, and it may throw you off your sax routine (embouchure-wise, mainly - I guess the fingering is the easy part).

Gokhan, I wish you luck tomorrow! About Mulhouse: I'm sorry, but I've been so busy and lagging behind with so many things, it would simply be too much for me now! Thanks though, for David's generous offer, but I simply can't make it. Will you come to Zurich after Mulhouse? If so, drop me an email (rather than a PM - I'll see the email faster, and I am afraid my PM box is quite full, too...) and we'll get in touch somehow!

"Blue Lester" (from the '44 Savoy date) - never fails to almost make my heart stop beating, the sheer beauty, and the melancholy...