JSngry

Very much enjoying reading these comments! Brownie, your link for Track 11 is to an album of which I'm totally unaware, so I'm guessing that what I've included is a different version of the tune by the same artist. Now you've got me curious about that other album! Same with Track 15 - your link is not to the LP from which I took the cut. But in this case, we're talking a technicality of CD vs LP programming. Still, if anybody can link to the original LP source for this cut, it'll getcha BONUS POINTS! Still no ID of the second saxophonist on Track 4, not even slightly. Listen closer, folks, it's a player who is not unfamiliar to many of you, although hearing him in this type of setting might well be. And the trombonist is not Clifton Anderson! I'm thinking that stereojack might be able to nail Track 5, which is one of those things that if you don't have, or have heard of, the album it's off of, you'll never guess who it is. And even then, you'll most likely not know who it is! Track 12 continues to tantalize, it seems. Let me just say if you set aside various preconceptions and think "logically", the two principal performers will come to you easily. Yes, it's them! Now, finding it on AMG is going to be another kettle of fish altogether... Lime I said, very much digging reading everybody's thoughts on these, and some great detective work's been done so far. Equally looking forward to the comments of other recipients, and any/all follow-up posts by those who've already posted.

Yeah, it's good stuff. More than a few "populist" moments, but no harm done, as they're coming from the side of the music instead of the marketplace. Certainly not Natural Essence, but unless you're a purist, I think you'll get your money's worth, and maybe a little more.

As I recall, it received poor reviews at the time, so I avoided it. I love the Columbias and the Artists House discs. I haven't kept up with more recent stuff. ← ← I own two copies (on BN cassette!), and find it to be a very good, if somewhat atypical. Laswell's production results in some very tightly focused arrangements, and the whole thing has his "sound" to it. There's also more vocals than had been the norm for Ulmer up to that point, ahich I think is why it left some critics cold back then. The album is a lot tighter than most of Ulmer's work before or since, and what it loses in openness, it gains in specificity. Not at all bad, just different, and perhaps it hit the market at a time before audiences were ready for something like that from Ulmer. As for the Columbia albums, hell yeah! I really dig Odyssey in particular. A harmolodic hoedown!

Glad to hear that it made it! You can repay me with your participation. That'll be more than adequate. And you're welcome. My pleasure!

You would guess wrong! BTW - if you want a copy of the discs, it can be arranged...

Freddie Keppard Jimmy Knepper Hildegard Knef

Only two or three? Surely you jest!

That's some cool shit, man. Thanks for posting that!

I emailed redoctopus for directions and they responded promptly, thouroghly, and effectively. Here's their directions. Note that they might need to know your country in advance. An email should take care of that.

As for Track 11, the closer, nah, didn't really have a reason, other than as a goof and that I like the way it ends the disc. Old hippies don't die, they just resort to studio gimmickry, doncha' know! But I can tell you this - if you aren't familiar the original album, you'll most likely never guess who it is.

I can see right now (as I could when I did the compiling...) that Track 9 os gonna be a, er.... "tough sell". No matter. I can see how the instrumentation/textures will put some (most? all?) y'all off, but afaic, what's being played us a total gas. Not at all cliched, extremely creative, actually more than a little wack in places (check those keyboard lines in the solo, and the tenor attacks/articulations), and totally fun. I put it in because it's a pretty goofy piece of music, goofy in the "how the hell did they come up with THIS crazy shit?" kind of way. Not but a handful of musicians could come up with what constitutes the innards of this one, never mind playing it like they do. It ain't a buncha fuzoid kids fresh outta Berklee, if you know what I mean. But hey, that's just me. Pretty much expected a lot of derision on this one, so no hard feelings at all if everybody dumps all over it. But I will predict this - sooner or later, somebody will name the players, and everybody's opinions will remain exactly the same.

You had a reel-to-reel deck that had a turntable on top? Wow, the mind reels, no pun intended. Gota picture of that puppy? I'd love to see it!

I'll beg to differ, at least a far as Wilton Felder, and to a lesser extent, Joe Sample, are concerned.

Yeah, but if Bob Brookmeyer's anywhere near it, I'm steering clear.

You might enjoy this one:

In the melodic lines, anyway. That shit is freakin' devious sometimes! But it wasn't until much later (and often away from Lennie) that, in particular, the drummers started getting in on the fun. Was Elvin on Motion the first recorded example of a "Tristano-ite" playing with a drummer who broke up the time as much as the soloists did?

No tenor solo on #6, and the drummer is known, but not well-so.

With that photo, the album title actually serves an informational/educational purpose! (tacky, I know. Sorry...)

Nate, #6 isn't overdubbed to my knowledge. Two pianos in real time. The compressed sound is, unfortunately, courtesy of the original LP. This label seemed to favor that type sound on many of their releases, for who knows what reason. Most unfortunate... And I think you (and others) will probably be surprised as to the identities of those involved on track 2. Not film music, nor borrowing from film music (not really), but... I'll leave it at that for now. Let's just say that in this case, this might be considered "film music" in the sense that "hot jazz" might be considered "cartoon music"...

I've heard a 1999 Halperin/Mosca duet disc that is absolutely mesmerizing, which is not necessarily to say that it's "perfect", because it's not. But good gracious, those two get into some pretty interesting deepness, and if it's got a purer-than-pure Tristano-ish sheen to it that by definition pushes it aside into a realm of its own self-referentialdom, so be it. It is what it is, and it's gonna be what it's gonna be. This is it:

What's not to like, eh?

Oh yeah - the lyric on Track 3 is "Oye mi saxons, que ritmo tienes.", which translates to "Listen to my saxophones, what rhythm they have!", a sentiment with which I fully concur.

No ****!

Wondeful responses so far, and more than a few correct guesses, whether intentionally or not (sometimes first impressions are correct, btw ! I suspect that Mike Weil will be the first to nail Track 3... The fade in (and out) on Track 6 was my doing, and was done solely for time consideration. So, any and all displeasure/disappointment with it is entirely on me. Interesting to hear the varied responses to the various singers. And I'd like to suggest paying close attention the the tenor player on Track 14.

I think we've got enough copies in hand now for discussions to begin w/o guilt!