Niko

of course not... in practice, I always have it somewhere between 32 and 48 with preferred values of 41 and 42

thanks for posting!

easy - everybody knows that Flea recorded with Ornette Coleman, and quick search of the board brought up this thread btw, if you check out his instagram, don't miss the clip of him and Chet Baker scatting Clifford Brown...

Walter Urban was a bass player in 70s and 80s LA who's biggest claim to fame nowadays is that, e.g., the readers of Rolling Stone magazine have voted his step son Michael Peter Balzary aka Flea the second greatest bass player in history (link) (after John Entwistle, before Paul McCartney)... he himself never achieved that type of fame (just like most people), Flea has remarked elsewhere that he can strongly identify with the childhood scenes Joe Albany's daughter wrote about... this here is from LA Weekly in 1981

thanks, I guess I need this... !

Thanks, very interesting!

very interesting, I've been collecting the LPs on Lewis' label from the 80s, as this is one of the few labels that was documenting the southern part of the Dutch scene... I like the quartet's previous record, Tears of the City (from around 1980 and still with a different drummer and bass player)... so I will certainly check this out. https://www.discogs.com/label/130438-Audio-Daddio

interesting, read this years ago but had forgotten about John the millionaire... Apparently, he was named John Hart and also appears on Philly Joe Jones Trailways Express and in this memory by John Altman At the age of 15 an amazing thing happened - I had become acquainted with a bass player named John Hart, who lived in the same street as some friends of mine. He was a wealthy scion of the Woolworth family and a very fine player (he would sadly die in a car crash several years later). For some extraordinary reason Philly Joe Jones arrived to live in his house, and he soon started organizing jam sessions. I attended along with all the fine young (and not so young) horn players and anxiously awaited my turn. I became immediately aware that I couldn't play like any of the other guys - not just couldn't but didn't want to. They were all over their instruments, striving to impress, but it all sounded to me like text book exercises. As I had my last music lesson at the age of 11, I had picked up my knowledge of the saxophone mainly by listening to other players I liked, and I had gravitated towards the melodic improvisers. So I began my solo with a carefully placed note, waited a few seconds, repeated the note, then added another and went from there. It was ostensibly a different method to everyone else, and it seemed to meet with Joe's approval, as he came up to me at the end and said 'you sound just like Joe Henderson!' - which I took to be a compliment (at least I hope it was!) Shortly afterwards Hank Mobley arrived in the house. Not only did he not own a tenor, he had no mouthpiece, and I sort of regret passing on allowing him to borrow my horn, as most people assured me it would never be seen again! To have a horn played, or even pawned by Hank Mobley - now that would be something!”

to say the same thing as Jim and Dan again slightly differently: it's also a tradeoff between minimizing fatalities and letting the disease die out as quickly as possible... by focusing on the older population most governments opted for reducing fatalities at the cost of living with the disease a little longer

fwiw the artefact around 9:55 or 9:56 is also audible on my 1994 cd... https://www.discogs.com/Dolo-Coker-California-Hard/release/3574163 (but it's not for sale, at least not from me)

That's fine if the handling fees become proportional as well... Dropping the 22€ taxation threshold but charging a 7€ fixed fee + tax is a ripoff... Either the fixed costs have become negligible or they haven't, not both at the same time

a vinyl rip would be pretty odd given that there were various cd editions in the 80s and 90s... I have one of them - could say specifically where on the cd you hear pops and clicks?

There is no US RVG of Basra, a product with that name was apparently not considered viable in the US at the time... Unfortunately, this was also the time when European RVGs had that copy protection thing...

that entire Liebman interview is really interesting, read it some time last summer after Grossman died, you find it e.g. here, there's a lot about playing with Miles in there, too, and quite a bit about playing with LaRoca, having LaRoca as your lawyer etc so I guess that part of the text is what the passage refers to (but I didn't read it again now)

For me discogs is super close to the usual record store experience when you try to economize on shipping... Once you've put something into your shopping cart, you can spend hours looking for additional stuff from the same seller... Like last week I saw a cd I wanted for 6 euro plus 13 euro shipping... Crazy but it turned out I could add six lps from their stock without additional shipping...clicking through a seller's 2000 or 3000 other offerings isn't the real thing but for me it comes close

btw, regarding your points on Draper and the role of the tuba within a jazz band: I haven't played the Roach albums in ages but iirc there is already some development from Draper's first recordings with McLean and Coltrane (age 16/17), where the tuba is used like a trombone, to those with Max Roach (age 18/19), if only because of the different lineup (tp ts tuba b dr)

those two, the Dr John album also has Graham Bond, Kenneth Terroade, Walter Davis Jr, Mick Jagger, Eric Clapton and other talented people... so it's kinda hard to say who contributed what in terms of arranging etc. On the McDuff album, Draper has actually composed most of the material, plays percussion, sings... so I guess one could argue that this is almost a Ray Draper album....

that's the strange thing, Draper was just a year older than Howard Johnson... and there must have been something incredibly convincing about him, just going by his credits, the jobs and opportunities he had - so many people thinking "this is the guy I want in my band". Born in 1940, McLean, Coltrane, Max Roach, then addiction problems stopped his career for the first time from 59 to 64, age 19 to 24, then a band with Philly Joe Jones, Horace Tapscott (he's on the Sonny Criss album), played the Amougies festival as part of a Don Cherry quartet, worked with Archie Shepp, with Jack McDuff, with Dr John, with the Sun Ra arkestra in the 80s ... before being murdered at age 42... that list of credits is pretty hard to beat and on some of those albums he contributes quite significantly (with the McDuff and Dr John albums being particular favorites)... but by that time he'd somehow rethought his role, being more of an arranger / band leader who also plays the tuba and sings a bit rather than a horn player in the front line... I'd like to hear that Don Cherry quartet one day, it's his only small group recording from later years... Draper's only leader work from later years, 1969, sound quite different

I like that album... it was such a weird idea to let a 16 year old tuba player record his own album... many 16 year olds would have done so much worse... then again it's really not easy to look good next to McLean, Waldron, Young when your instrument is a tuba...

Yes, thank you very much!!

Thanks, Onxidlib, I'd been counting on you a bit... let me ask a few specific questions then either for someone here or for Winckelmann - I read a few times what you both wrote above, the name Tutu is a reference to the Miles Davis album... but how is the reference meant? I mean, both the label and the album have to do with jazz and they're from the late 80s... but otherwise the music seems fairly unconnected if I look at the catalogue ... there must be something I'm missing - Would it be fair to say that, at least initially, Horst Weber was involved in two labels but at some point others took over so that by, say, the late 90s Tutu was effectively Peter Wiessmueller's label while Enja Weber was Werner Aldinger's? When we see Mal Waldron record for both Tutu and Enja around 2002, is that more of a rebranding within the Enja-Weber empire, or is it more a switch Wiessmueller's independent label to Aldinger's?

Another nice package of reviews, thanks! One thing I'd been wondering about for a while is the relation between Enja and Tutu... Formally, Mal didn't record for Enja in all those years, but he did record quite a bit for a label that belonged to the same family, somehow... But it's not so easy to figure this all out with the two Enjas from the mid80s, and then also other people like Werner Aldinger and Peter Wießmüller being involved in (different parts of?) Enja Weber / Tutu. It doesn't seem that Tutu is a straight sublabel/product line of Enja Weber, but it certainly is something like it.

another Dutch IPA from Haarlem is introducing the weekend here...

in terms of likely bass players, I'd say Trigger Alpert (pictured) is more likely than Bob Haggart or Artie Bernstein among the logical candidates... but I'm not really convinced