king ubu

I'm quite sure they boo Giuffre, too... I got a George Russell boot from Paris that is even worse. Though Giuffre comes up with some tongue in cheek announcements... at one point he tells the audience that if they didn't like the previous tune, they'll like the next one even less I'm also slightly preferring the Paris concert, but then I had that for years when I finally tracked down the Dragon set with the Stockholm concerts. Seems it was during this tour Trane was given his soprano by Miles (I think the the 4CD release I have of the Paris concerts has a photo inside with Trane holding a soprano - not sure if this is true or some kind of myth, though). And on the "Giant Steps" question: I don't really know, but the notes of said 4CD set say no, that they knew the Prestige discs, and thus were expecting a totally different (INDEED!) Trane than what they got. ****took that 4CD set out of the shelf now (my own private anti-laziness campaign)**** There is one long article from Jazz Magazine, plus shorter ones from Combat and excerpts from two more, giving info on the debate that started with that concert. The most interesting thing about the booklet, though, I find to be the comments of several musicians who had been there that night (these were in Jazz Magazine, too): Some quotes (incomplete): Stéphane Grappelli: "... Coltrane m'a vivement impressionné mais ne m'a pas touché comme venait de le faire Oscar Peterson. Je l'admire beaucoup d'avoir eu le coeur de continuer à jouer sous les lazzis et les imprécations d'un public grossier et irrespectueux. ..." (he then goes on explaining that German audiences are able to remain quiet and polite even if they dislike the music... that changed, at Jazzfest Berlin, though... in the late Seventies Carla Bley performed a track called "Boo to you too" in Berlin, dedicated to the dedicated boo-ers in the Berlin audience...) Then René Urtreger, who obviously loved it: "J'aime l'inhabituel. Coltrane est inhabituel dans ce sens qu'il joue - ou essaie de jouer - quelque chose qui lui est particulier et par là même différent, tout en étant purement jazz. Même si Coltrane a joué des choses inachevées, voire un peu bizarres (il me faudrait réécouter la bande du concert), sa conception me plaît profondément. J'ai réellement découvert Coltrane en l'écoutant en direct." (This is the complete quote. I like the part "ou essaie de jouer" - shows how much Urtreger understood, because this really was the period where Trane seemingly played on and on if no one stopped him...) Daniel Humair: "... Le public était venu pour entendre ce qu'il connaissait des disques et a été surpris, voire contrarié d'entendre ce à quoi il n'avait pas été préparé. Ce n'est pas une raison pour manifester si grossièrement; j'ai assité aux concert du quintette à Berlin: les prestations de Coltrane ont choqué quelques auditeurs; ceux-ci ont discrètement quitté la salle. N'est-ce pas une attitude plus intelligent que de pousser des hurlement de sauvages? Pour en venir plus directement à Coltrane, j'aime beaucoup ses disques, mais l'audition directe a provoqué en moi un véritable choc. ..." Michel Hausser (wasn't the *other* socialist working together with Lafitte against Americans getting gigs?): "Connaîssant et appréciant les disques de John Coltrane, j'avoue avoir été surpris par sa façon de jouer à l'Olympia, que j'ai trouvée laide et qui - à mon avis - aurait une fâcheuse tendance à suivre la voie tracée par le saxophoniste <plastique> Ornette Coleman. ..." There's more in that booklet, but I'm too lazy to type up more. Pretty funny, though!

Both wrong, sorry! But then the drummer, while being a fine musician and longtime associate of another ebony tinkler, he's not a very individual player...

Oh, it has been so long since I listened to that set that I have totally forgotten Garrett is there, too! Will spin it again soon! Thanks for mentioning it!

Oh, and Rooster - I WANT that Woody BADLY!!!

Peter, tell me if I should organise that someone sends you copies of my #24! Rooster: PM sent!

What no replies yet? I quite like Garrett! First got to hear him on some late Miles, later picked up some of his discs (I think I have 5 or 6 so far). The trio disc is very fine, and the Coltrane disc is its equal. I like Garrett's bitter-sweet sound on alto and the power and - I guess - loudness of his sound. His latest, "Standard of Language" I saved from some bin, recently, but haven't listened to it yet. ubu

Would there be enough Ellis for a Select? The only one widely available is the "Only the Blues One", as far as I know, so...

Looking forward to this Basie set very very much! Nice to let it have it's own thread!

Sorry it took so long! Check your PM or mailbox for some of John's about possible skips on disc 2 please!

forgot to mention: sent by Mosaic Records...

Lookie here, everybody, just in my mailbox: WHOAAAA!

I don't know it, but yeah, sucks big time!

Maybe organissimo.org really is a microcosm of the actual jazz audience. I never was too fond of any later Shepp (the last album I really love is the trio on Enja, "Steam"). Rudd, though... I absolutely love his recent "MaliCOOL" album, and as I said, he's on top form with Lacy (on that official release as well as on a live recording I've heard). Then I recently got the Shepp/Waldron "Left Alone Revisited" from the library and rather liked the few cuts I've heard so far, not only because of Waldron, so I'll have to return to that one!

You mean the "orgler" on #10? Not sure the right name has come up already... will have to check tonight when at home!

That was a Toshiba Direct-To-Disc LP, a rare bird, but well worth the search. A solo each, two duos, and two quartets with George Duvivier and Shelly Manne - the most swell piano duo ever Is there more from this "unofficial" recording? They are way loose on this! I love Lewis, and his duos with Hank Jones all the more! Lewis wrote that Koko arrangement for the MJQ Ellington CD. Now let's nail the rhythm men ... Now who's that organist, or, as the late, highly original AFN radio jazz moderator Clay Sherman used to say, the "orgler"? Wild Bill? Yeah, sure, nail 'em!

First vote for "other"... want to bring Eric Dolphy into this discussion. I'm aware he didn't exactly - as a whole - sound all that close to Bird, but: I think he captured the essence of much of what Bird did way more and way deeper than guys like Lou Donaldson or Phil Woods (who are great musicians, but not all that original, I suppose). Maybe I look at Dolphy as sort of an extension of Bird, starting where Bird left off. What I mean to say is that an important part of Bird was his explorative mind (sure, he had his pet licks, too, but...), and musicians like Woods or Donaldson or Stitt lack that (while being highly competent players in their own right, but confined to some sort of "style").

Disc 23, track 13 - there's a track index in the back of the booklet .... Yeah, sure, I know, but you don't expect me to carry that sucker with me wherever I walk And sorry I was confusing again, YES to Lewis and YES to Hank J. I love the two! This, as you may have noticed, is not from an official recording - but I can highly recommend "An Evening with two Grand Pianos" (Atlantic) and also, related, "Our Delights" (OJC/Galaxy, with Flanagan/Jones). Definitely keepers, both. I see Jones/Lewis did another album together, "Piano Play House" ubu

Kenny who?

And Nate: please do accept John B's offer for a replacement of Disc 2! I'd be happy if you'd have a working disc! And John will be royally refunded for taking these pains!

Time to give some BIG for Nate and Tom... That soprano... just such a short passage and Nate gets it right! And Tom is right on the money on the "repertory band" playing "For Dancers Only"! The guy Faddis is evoking... well, not sure he was on the original recording, but he was condictung the band that night... On #5 - again, not Duke's band, but half of the guys are ducal. Not the soloist, though... On "Blood Count": again I have to admit I have neither heard the original ducal take (is it on the 24 CD box? Have made my way up to where the sacred concerts begin, but not further yet), nor the Getzian classic version... so I take this as what I hear it to be, and based on that I find it awe-inspiring and masterly. On "Body & Soul" - didn't occur me to compare it to the James Clay version, will do so, however! Thanks! Jim has, btw, identified "Jada" correctly, only I didn't tell him really, yet And catesta has not been given the royal track-by-track treatment, but I want to let him know that: on bro'r Jones! Now you ought to make up who the two (yup, two!) guys tinkling on are, on "KoKo"! Enough for now! Again thanks everybody for your wonderful posts! All the kids in the band have been raving... oh wait, that's not my line ubu

I guess all you guys listened to this one more attentively than I ever did... it just had to be placed here, for thematic reasons... No youngsters, though they came a wee bit later than the original... today they're all old veterans. That alto I think is quite better than some of the rather weak altoists BN hired in the Fifties (those one-session guys..., not Jackie Mac or Spaulding). Not Evans, and nope, I guess none of those among you who said they should know the drummer do actually know him You're right on the money as far as the time of recording is concerned! I have never heard of Pino di Modugno, though I'd certainly be interested! I'm growing to be more and more of an accordion buff! That sound is on my source, it's indeed a pity... As I said, rhythmically I prefer this quite some over C.T.'s version! I think this drummer is incredibly good here! Funny that again the trumpet player sounds familiar (hint hint), I guess you, Nate, would be the only person accross the pond that I think could indeed know him! Well, you know this guy now! One of the goals of my BFT. Not Carla, not at all... Again introducing some new guy here! Thanks Nate for some interesting comments!

Tom & Nate, thanks a lot for some interesting posts! Nate, glad the discs finally arrived (have heard you had problems with disc 2, but I'm still only catching up with this thread first. Not too clever, no sir! Your ears don't betray you! I like that Rolls Royce engine metaphor! The drummer is the biggest name in here, I still wonder no one has tried to drop some names... mikeweil? Care to give a shot? You have? But not from me, I think! The tune and the pianist have been nailed, but the leader not yet... The two tracks that got the most flac... Dig Sangrey's post on this one... he's right on the money B-) As I said before: yes, these are all pros, indeed, and the band is a mix of working group (or at least project) and "stars" added for the occasion, so... the french horn player is not Tom Varner Nope, and no free horn players here... all arranged, except for the solos. Thanks again, Tom!

Hmmm, I tend to disagre.. I look at this, the Lacy/Rudd and the Taylor/Redman/Elvin as sort of a series, and while the last is ok, and the Lacy/Rudd I love, I never found the Shepp/Rudd all that good.

hope this helps a poor moose finding its way... ubu

not with that diet of his! this is the first hit of a google image search for "catesta" I'd say: gotcha! busted! ubu