jazzbo

I've got unofficial recordings from 1972 and 1975 that I really like; Monk seems to be playing VERY WELL and Paul Jeffrey is doing VERY WELL at the head of the Quartet, with Tootie Monk on drums, who gives a different feel to the sessions. . . . There seems to be a new wrinkle to Monk's playing or I may be just imagining it. . . he seems indeed to be sculpting further the compositions as couw suggests. I'm hoping more from this time period will surface on cd; it has been mentioned by a Monk family member/employee that Paul turned over to them about 20 hours of tapes.

I ordered and received the second Nara Leao box set from Dusty because I noticed they had reduced the price by a good chunk and. . . well the bast'ds got me. Also ordered the new Brazilian version of the "Astrud Gilberto" original lp and the "Astrud Gilberto and Stanley Turrentine" CTI (the UK version with the same three bonus tracks as the German version I notice).

Well, the way I use the term there really were/are. I think of a master as someone who has really mastered the instrument, to the extent that he can play very well and can be very expressive. Doesn't necessarily mean that he will be an innovator or even a great improvisor, but it does mean that he CAN PLAY as Monk would say. Wilen certainly qualifies. He played the tenor immensely well, and he played soprano, alto and baritone as well as many who concentrated on those instruments. (His soprano tone may be the best there was/is to my ears!) That's quite a feat, to have such mastery over four horns.

Yes, I love his piano work in general, but also I just love his and Billy's compositions and arrangements, the soloists, the. . . . Man, Ellingtonia is da bomb!

No, that was an earlier Capitol lp (it was a Capitol Ellington box).

Many many more happy ones!

XRCD (which has had a few evolutions) probably doesn't use that 1630 Umatic any longer.

If it doesn't come out on SACD, Greg won't buy it.

Man some mouthwatering stuff in those discographic pages! I share your admiration of McFarland.

I did find THIS: 13 - ORIGINAL SOUNDTRACK RECORDING (aka EYE OF THE DEVIL) Gary McFarland London: November 7, 1966 Unknown (tp); Tubby Hayes (f); unknown (p); Lennie Bush (Bass); Ronnie Stevenson (d); Gary McFarland (vib,comp,arr); Jack Parnell (cond). or London: November 8, 1966 Gary McFarland (vb,comp,arr); Jack Parnell (cond) plus unknown tb, fl, p, b and dm. a. (101095) Main Theme (Journey) (Gary McFarland) b. (101096) Main Theme (Harp) (Gary McFarland) c. (101097) Main Theme (Kids) (Gary McFarland) d. (101098) Death March (Part 1) (Gary McFarland) e. (101099) Death March (Part 2) (Gary McFarland) f. (101100) Death March (Part 3) (Gary McFarland) g. (101101) Death March (Part 4) (Gary McFarland) h. (101102) Voices (Ceremony) (Gary McFarland) i. (101103) Main Theme (End) (Gary McFarland) j. (101104) Voices And Bells In Church (Gary McFarland) k. (101105) Christmas Theme (Gary McFarland) l. (101106) Hypnotizing Odillo Theme (Gary McFarland) m. (101107) Forest Chase (Gary McFarland) n. (101108) Train Ride (Gary McFarland) Note: Verve V/V6-8674 is McFarland's score for the feature film 13 (released in 1967 under the title EYE OF THE DEVIL (d: J. Lee Thompson)). Although the soundtrack album was recorded, designed and advertised, it was never issued. Titles above from Creed Taylor's records, some of which are probably known by other titles Gary McFarland used for themes from this film: "One I Could Have Loved" (aka "Theme from 13," "Eye of the Devil" and "13 (Death March)"), "Once I Loved" and "Childhood Dreams" (aka "Jacques"). (Special thanks here to Dan Skea of the RVG Project). Issues: None (scheduled as Verve V/V6-8674, but not issued). Producer: prob. Creed Taylor Engineer: prob. Jack Clegg http://www.dougpayne.com/gmdisco.htm#SOFT%20SAMBA%20STRINGS

Pretty cool photo!

And soon to be? Bluebird = RCA = BMG/SONY or SONY/BMG

I ordered the University of Miami CD Romances and should be getting it soon; J&R had a very good price on it. On another (audio manufacturer's) board I recommended this cd and supplied a link and commentary and I think I sold four copies that way. One I bought back from the buyer because he said it was "a bomb." Hard for me to fathom that it wouldn't have been liked, especially considering some of the music I know he DOES like, but hey, it's a copy I'm going to give to a coworker who is retiring this week at her "happy hour" on Friday. . . . She loves to GARDEN so I think it's appropriate; she also likes very mellow music and dance, so I think she'll really like this. I'll find out!

Bad instruments can really hold a player back. . . I agree that the better the player the more that he can glean from a bad instrument, but a novice or mediocre player may be better served by a better instrument. . . .

And don't knock "Bird's plastic sax." I don't think it was an inferior instrument! Temperamental, hard to get repaired, yeah probably. But I have a book in which Ornette talks about his lovingly and Bird seemed to enjoy playing his, and they are pretty valuable instruments these days.

Alright! I don't think you'll be disappointed.

I have to say this is my favorite Green, and I think Hancock plays some of his best piano here. The tambourine is all part of the church feel. I recommend grabbing it!

Yeah, looks like a great release, all that I would be interested in in the catalog (or what's listed so far).

There was; it is.

Man I have to hear that one day! Hopefully a lot of the Vogue and RCA Bechet sessions will get a good cd reissue program dedicated to them. . . (I can still hope for a few things!)

I don't know Dan. . . I mean my jailbaitometer is really rusty and dusty from disuse but it's registering on the "no way jose" portion of hte scale.

You do if you want the expanded material! 12. Track 360 13. Sentimental Lady 14. Brown Penny 15. Pie Eye's Blues - (alternate take) 16. Sweet & Pungent - (alternate take) 17. Swinger's Jump, The - (alternate take) 18. Blues In Orbit - (previously unreleased, alternate take) 19. Track 360 - (alternate take) The alternates are fun and the first three and last of the additional tracks are nonalbum tracks from another session that were on the earlier US cd release (excellent material).

There's a lot of interesting things out there on the web about using non brass materials for reed and brass instruments. . . . One or two scientists seem to have come to the conclusion that if the operation of the valves and openings of the instruments are the same the sound is pretty identical no matter what material you make the body from. But the Grafton had a unique system of springs, keys and pads for the openings, and so it had a different feel and sound---the science claims the sound is from this different form and operation of the springs and pad mechanism and the different structure of the openings. Bird and Ornette seem to really have loved the instrument (Ornette has been quoted as really liking the feel of the instrument especially) but they apparently do develop mechanical problems, and on the road it was very hard to find anyone to repair or adjust the instrument as they do not use the standard technique and parts. I'd like to try one out sometime because I find them very intriguing instruments. Also find the bambo (Key- and pad-less) saxophones you can find for sale on the internet intriguing as well. Maybe even more so. . . .

The Columbia cd of the Clooney sounds very good, a bit better perhaps than the earlier MFL and has more material, but that price for the MFL is a good one and it is a fairly collectable cd.