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king ubu

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Posts posted by king ubu

  1. I have not yet found the time to listen to it (I mean, sit down and listen, and nothing going on besides), so I though: how about doing that right now, and post some, while listening...

    I always loved the opening trach (Syeeda's Song Flute) - that strangely harmonized sort of fanfare, going into the Trane song after some very interesting passages, and hell (I mean: HELL), yeah (or say: HELL YEAH) it swings like mad when that child-song-theme starts! Reggie Workman and Charles Moffett create a very solid, dense yet never overwhelmingly so, background for the horns to improvise on top. When Rudd enters behind Shepp, they sort of doulbe up the interplay of Workman/Moffett. They really are toghether (check out my favorite Shepp albums for further proof of this: Live In San Francisco and Mama Too Tight)

    Mr Syms: It strikes me that all four Coltrane compositions are from his Atlantic records - nothing of more recent origin. And yes, those wonderful Atlantic albums had many good compositions (besides the obvious Naima or Giant Steps). Alan Shorter seems to have his own thing together. Not too close to Don Cherry, some tonality of his own, which I quite like. Bitter? The interlude is beautiful, as is the arrangement of the tune itself. Shepp really had a beautiful sound (I think he himself though that the Enja record Steam, a great live album presenting him with just bass and drums, was the one which captured his sound closest to how it was)

    On Cousin Mary (http://www.organissimo.org/forum/index.php...opic=26&hl=mary)Workman and Moffett set up a very swinging pulse, over which Shepp enters with a beautiful, exploring solo. Then we hear another probing solo from Alan Shorter. He seems a little more conventional to these ears, this time, but still good. Then we hear Tchicai, playing mostly in the lower register, starting from where Shepp left. He has a very nice sound on his alto sax, too - actually, all four horns seem to have their own beautiful sound together, and this, coupled with a hard swinging and pulsating rhythm section, creates the mix and mould in which this album succeeds.

    The trombone theme-statement of Naima strangely enough reminds me of Mingus' composition "Eclipse", however Rudd does a good job, and Shepp enters with another beautiful probing solo, which fits the mood of the tune perfectly. He is beautifully backed by Rudd again, with help from the others, this time, but Rudd's is the voice one hears most clearly. Workman plays very good here, too, creating the backdrop and melodical counterpoint here, while Moffett is rather restricted for once. Shepp's solo-cadenza is stunning, it shows he was a real master of his horn. Then comes a hard swinging section, presented by Shepp, with some counterpoint by Rudd, who starts his solo with some deceptively simple phrases and builds from there. His sound really strikes me as one of the most vocal and human trombone sounds ever. He clearly came away from the J.J. style. The slow passage then is marvellous again.

    The Shepp tune that closes the album, Rufus (Swung, his Face at Last to the Wind, Then His Neck Snapped) brings back to mind that this music stems from the mid sixties. It has a sort of nervous feel to it, propelling drums, loping bass-lines, sort of a stop-and-go thing. Here we get to hear a stunning solo from John Tchicai, then some more from Shepp. They make for a very interesting match. Then we get some Workman, running, stopping, strumming - sometimes reminds me of the flamenco-things Jimmy Garrison would do with Trane. A short solo by Moffett leads back into the theme. Question: anybody knows more about the title? Is there some link between title and actual music?

    And, hey, looking at the last picture of the CD booklet (the one of Charles Moffett) - does he really not play a Hi-hat on the whole album? I only saw that photo when I came to listen to Rufus, so I did not specifically mind this up to Rufus, on which, it seems, he really has no Hi-hat!

    Hope this is worth any,


  2. Just got the shipping confirmation from amazon - and in a couple of days, the Jazz Epistles Vol 1 will be mine :excited::excited::excited:

    It's a little pricey with amazon, but this seems the way to go, as they still have it!

    After what you all said about it, I can hardly wait for it!


  3. Actually, King, I think that since you started the wayward threads, you can go back in and delete them without invoking the Fist.

    Thanks, Dan, but I only see the Report, Quote and Edit buttons, no delete button in the first post of a thread... wrote Use3D a PM.

    However, big sorry from this part. (when writing that PM, I got a message "Mail Error" when I mailed it, but being a little bit wiser, I did NOT re-send it again... We had a similar problem a couple of weeks ago, too, I seem to remember)


    on topic:

    I thought we could discuss this series in general - favorite reissues, recommendations etc, how we like them in general...

    I have so far picked up most of the first two and the fourth batch, and all of the third. I plan to get as many of them as I can afford, but you know...

    Some favorites so far are the Buddy De Franco Mr. Clarinet disc, the Herman, Gillespie and Ella (Whisper Not - love the title-track!) as well as the Brubeck/Desmond are very good ones, too. And as a sucker to Tormé I obviously like that one, too, and wait for the next to come soon. Then the Willie Bobo was a pleasant surprise for me. I like those lengthy jam tracks real good!

    Now they could bring us all those Buddy De Franco albums with Sonny Clark, couldn't they?


  4. Holy cow! I only wanted to post this ONCE!


    I got to some site telling me posting was not possible, then I hit the back button, tried to start a new thread again etc...

    sorry -_-


  5. Just in case anyone else is interested, and as I already took the pains...

    here we go:


    April 9, 2002

    Dave Brubeck & Paul Desmond, 1975: The Duets (A&M)

    Oscar Peterson, Soul Espanol (Verve)

    Stan Getz & The Cool Sounds (Verve)

    Rosemary Clooney, Swing Around Rosie (Coral)

    Ella Fitzgerald, Whisper Not (Verve)

    April 23, 2002

    Willie Bobo, A New Dimension (Verve)

    Sarah Vaughan, It’s A Man’s World (Mercury)

    Margaret Whiting Sings the Jerome Kern Songbook (Verve)

    Astrud Gilberto, The Shadow Of Your Smile (Verve)

    Wes Montgomery, Willow Weep For Me (Verve)

    May 7, 2002

    Dizzy Gillespie, Afro (Verve)

    Gerry Mulligan & CJB, At the Village Vanguard (Verve)

    Count Basie, King of Swing (Clef)

    Stan Kenton, The Formative Years (Decca)

    Woody Herman, Woody 1963 (Philipps)

    May 21, 2002

    Carmen McRae, Birds of a Feather (Decca)

    Sergio Mendes & Brazil 66, Equinox (A&M)

    Anita O’Day, Incomparable (Verve)

    Mel Tormé Goes South of The Border with Billy May (Verve)

    Alice Coltrane, Universal Consiousness (Impulse!)

    August 6, 2002

    Sister Rosetta Tharpe, Gospel Train (Mercury)

    Buddy De Franco, Mr. Clarinet (Verve)

    Ernestine Anderson, My Kinda Swing (Mercury)

    Cal Tjader, Soul Bird Whiffenproof (Verve)

    Terry Gibbs Plays Jewish Melodies in Jazztime (Mercury)

    August 20, 2002

    The Gigi Gryce-Donald Byrd Jazz Laboratory & Cecil Taylor Quartet, At Newport (Verve)

    Sam Rivers, Crystals (Impulse!)

    Lalo Schifrin, Piano, Strings & Bossa Nova (MGM)

    Slim Gaillard Rides Again! (Dot)

    The Jazztet At Birdhouse (Argo)

    March 11, 2003

    Pee Wee Russell, Ask Me Now! (Impulse!)

    Archie Shepp, Attica Blues (Impulse!)

    Albert Ayler, Music Is The Healing Force of The Universe (Impluse!)

    Earl Hines, Once Upon A Time (Impulse!)

    Steve Kuhn & Gary McFarland, The October Suite (Impulse!)

    March 25, 2003

    Dorothy Ashby, Afro Harping (Cadet)

    Gabor Szabo, High Contrast (Blue Thumb?)

    Ray Brown, Jazz Cello (Verve)

    Jim Hall, Live (A&M)

    Buddy Emmons, Steel Guitar Jazz (Mercury)

    June 10, 2003

    John Klemmer, Involvement (Cadet)

    Julian “Cannonball” Adderley (EmArcy)

    Lee Konitz, Motion (Verve)

    Sonny Stitt, New York Jazz (Verve)

    This Is Billy Mitchell (Smash)

    June 24, 2003

    Gerry Mulligan Meets Johnny Hodges (Verve)

    Phil Woods & His European Rhythm Machine At The Montreux Jazz Festival (MGM)

    Stan Getz, Reflections (Verve)

    Jimmy Giuffre, The Easy Way (Verve)

    September 9, 2003

    Buddy Rich & Sweets Edison, Buddy & Sweets (Norgran)

    Hugh Masekela, Grrr (Mercury)

    J.J. Johnson, J.J.’s Broadway (Verve)

    Jack Teagarden, Mis’ry and the Blues (Verve)

    Al Grey, Snap Your Fingers (Argo)

    September 23, 2003

    Frank D’Rone, After The Ball (Mercury)

    Blossom Dearie, My Gentleman Friend (Verve)

    Ella Fitzgerald Sings Sweet Songs For Swigers (Verve)

    Brook Benton, Songs I Love To Sing (Mercury)

    Mel Tormé, Tormé (Verve)


    Please post mistakes if you find any, I will then edit.


  6. you see, Tony, at least we speak loud! :)

    now thanks, anyway.

    Seems to be a very interesting batch!

    The Hill is the greatest news, of course.

    Then I never heard the Mobley, Morgan and Rouse, neither the Larry Young one - hell, was born too late to grab that Mosaic. But I got the Rivers Mosaic, so probably no need to get a McMaster of that one.


  7. My personal favorites would probably be Soultrane, Settin' the Pace and Traneing In (all by the quartet of Trane, Garland, PC, Art Taylor). But then all the stuff with Wilbur Harden is very good, too! There is a nice 2CD set on Savoy collecting the three sessions which were originally issued as three Wilbur Harden LPs.

    Lush Life then is another good one, and to sum those sessions up, you also should get The Last Trane (a comp of left-overs, but what goodies!), The Believer, and, also Trane's leader-debut, Coltrane (with the obscure Johnny Splawn on trumpet).

    Then I like some of the blowing sessions, as the before mentioned Wheelin' and Dealin'. But my favorite among these tenor-battle affairs is the Cattin' with Coltrane and Quinichette. I really love that date! Waldron and co. create a very nice mood, and Trane and Vice-Pres have their fun, and are a very nice fit.


  8. BFrank, if you enjoy the Dorham live, get the "Jazz Prophets Vol. 1" disc as soon as you can. That one was reissued as a "Chessmate" a few years ago (and is OOP if I remember right, for one or two years now). It has the same band except for Dick Katz in Timmons' place, and Burrell (who was a special recording-session-guest for the Blue Note date) is omitted. Very nice playing by all included, sort of a minor masterpiece. I love "Blues Eleganté"!


  9. Truly a great record! That's the sort of record that's quite rare, I think. It has a huge openness, a great free flow. Sam Rivers is always a treat, in my opinion.

    Then the percussion trio track (with Hancock and Hutcherson) seems to be sort of a preview or predecessor to those "little-instrument" things that came in the late sixties and in the seventies (think of the AEoC, for instance).

    And the duet of Hancock and Carter is stunning, beautiful! Hell, Williams at 18 was also a very interesting composer!

    CJ, you might also want to check out Williams's second Blue Note record, Spring. It's available as an old domestic BN CD. It has Rivers, Shorter, Hancock, Peacock, and is a more organised affair, as I hear it, but quite good, too! And has a beautiful cover...


  10. I have the Jazz Workshop double LP only, but: the strange sound on track 1 (the Medley) - if the distortion you're talking of is similar - is actually no distortion, but Mingus' slippers making some noise while he's stamping his foot. Cannot remember anything particular about "Meditations", but the recording quality is sure not the best!


  11. Hope this helps, don't know about correctness of the above data, however!


    Wow, I don't know how to thank you for all this work, just shows you everything is possible, now I just have to try to obtain some of these.

    Thanks a million

    No problem! Those CDs are annotated so scrappily, and now I can always go to my favorite BB and there everything is in one place :)

    There are two more Kaz CDs by Dollar Brand, one called "The Mountain", and one called "Blues for a Hip King" (though I fear that one was not composed for my dear king ubu...). I have never had or seen them. Anyone knows more about them?

    Then, my comment on Ibrahim's piano not being that important: I have to correct that. There's one p-solo track (on "African Sun" - the one wrongly annotated as a group track in the CD's booklet), and "Tintinyana" is mostly a trio affair (though that jam with Blue Mitchell, Buster Cooper and Harold Land is quite a lengthy thing).

    Then yesterday, I gave a spin to "Voice of Africa". First time since at least 3 years. Wonderful stuff! Kippie and Mannenberg (that is Basil Coetzee) are two real, I mean REAL good saxophone players. They have that cry, so much soul, and those "african horns" playin' together get such a nice (and non-western) sound! I love it!

    Then, I also never had the Jazz Epistles discs (yes, I remember there bein two of them). I will have to look for them, too.

    And a general comment about South Africa in the sixties and seventies - though I was born only at the close end of the later decade... as a historian (or rather: as someone working to become a historian), I have some sort of sensibility, which somehow denies ZA of the apartheid being called "a fantastic time" - I mean, jazzwise or jive-wise it may have been just that, but I'd try to be a little bit catious in chosing my words.

    ---end of rant! no harm to be taken, just my two cents.


  12. Seen some more, lately: "Key Largo" (great!), "Deadline USA" (good for an hour, then it became way too pathetic...), today, I'll go for Fellini's "I vitelloni" (which I've only seen the parts shown in the great Scorsese feature film) , tomorrow, it will be "Amore in città" (with episodes done by Fellini, Antonioni, Lattuada, Risi and others), and next week, Rossellini's "L'amore"... An almost complete retrospective of Fellini has just started here :excited::excited::excited:

    And as I 've passed my university exams for this summer, I'm going to catch as many as I can, including those I already know.


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