jazzbo

Yeah, I dig all the sessions on this box set.

Las Mosaic I listened to was the Vaughn Roulette. . . . I keep WANTING to like a lot of that set and falling short.

This IS on cd, from Fresh Sounds and possibly also on Collectables, cannot remember precisely. . . . Great session. Payne! The sessions he led are always worth hearing.

Blindfold Test The Red Menace Zone The Funny Rat The Vinyl Frontier

Thanks Brownie, my French was bad that morning and I didn't have the cd with me at the time. I think I may or may not have corrected that in the article itself. My criterial for the article was to mention cds that at that time I could log in and order, and each of these fit that criteria. .. then. .. not now! The St. Germain dates I had but didn't find them available for sale online.

Well, okay, since you asked. . . Here's from the draft I submitted. Unsung Master: Barney Wilen The past year I have been reveling in the artistry of the late Barney Wilen, a master saxophonist who is not as well known as I believe he should be. Barney Wilen was born to an American father and a French mother, and spent his early years in Arizona, before moving to France as a pre-teen. He developed a deep interest in the saxophone, and was inspired by Lester Young and Sonny Rollins. He began playing as a teenager in France with French jazzmen, and with visiting American stars. Soon he was recording on his own for Vogue and Philips and RCA, and was one of the stars of the European jazz scene. In these early recordings he featured his tenor saxophone playing, but also began to perform and record on the soprano saxophone, an instrument on which he found a beautiful tone. At the end of the sixties, Wilen spent years in Africa, filming Africa and Africans, and playing and learning music. On his return to Europe he began a second musical career as a jazz leader, and began to feature European melodies and also to explore Indian music. More and more his attention turned to ballads, and to the interpretation of romantic compositions. He also recorded with frequency on the alto and baritone saxophones, showing a growing mastery of all these horns. Lamentably few of Wilen's recordings are readily available on compact disc in America. Below I would like to point out seven recordings which are fairly easy to obtain, or available with a bit of effort and well worth the search. Miles Davis: "Lift to the Scaffold" soundtrack. (Fontana) Wilen was recruited to participate in this soundtrack recording, and contributes an interesting feature for the tenor sax. A beautiful recording of a top shelf ensemble. Barney Wilen: "Une Temoin Dans La Ville / Jazz Sur La Seine." (Philips). Two Barney Wilen albums on one CD! On the first includes Kenny Dorham, Duke Jordan and Kenny Clarke and is a real gem. Here Wilen is recorded on the soprano saxophone for the first time, and plays beautifully. The second session has Milt Jackson on piano, and as the only horn Wilen solos often and well, in a Sonny Rollins mode. John Lewis / Sacha Distel: "Afternoon in Paris" (Atlantic/Koch Jazz) This recording has Wilen along as a sideman with leaders Lewis and Distel. A very interesting recording, to which Wilen makes important contributions. Barney Wilen: "Moshi" (Mantra) Fresh from his years in Africa, Wilen recorded this session in Paris with African and French musicians, and includes recordings of speaking and chanting from his African travels. The music shifts from electric blues to African influenced music, and Wilen adds saxophone commentary to these non-jazz compositions. A very different offering, but enjoyable. Barney Wilen: "Sanctuary" (IDA) A jump to the '80s, and a pristine recording of Wilen in a trio setting with guitarist Philipe Catherine and bassist Palle Danielsson. A swinging and lyrical session, with some selections evoking the spirit of Django Rheinhardt, and masterful playing by all present. This is one of the recordings that shows Wilen's growing interest in romantic material and his interpretation of the Lester Young approach to ballad playing. Barney Wilen: "New York Romance" (Venus/Sunnyside) Recorded by the legendary engineer Rudy Van Gelder in his Englewood Cliffs studio, this is a session that features Wilen on tenor, baritone and soprano saxophone, accompanied by Kenny Barron, Ira Coleman and Lewis Nash. Both swinging numbers and lyrical ballads are performed with emotion and expertise. Barney Wilen: "The Osaka Concert" (RTE) Featuring the piano of Laurent De Wilde, this is a well recorded concert that has the added highlight of incorporating spoken introductions in French by Wilen of the selections and players. The performances are spirited and chronicled is a stunning baritone solo within the rendition of "Sous le Ciel de Paris," and an exciting performance of an interesting arrangement of "Les Feuilles Mortes (Autumn Leaves)" Sadly, Barney Wilen died on May 25, 1996. He has left an enduring legacy to his musical artistry and spirit. His work has grabbed my attention, and enriched my life. If you wish to add the work of another jazz master to your musical world, seek out one of the recordings of Barney Wilen. Like me, you may become an enthusiastic fan!

I'm with a few others here. Tony was still an awesome drummer, I certainly couldn't hold a candle GNUB in comparison. . . . BUT I don't prefer his drumming after the mid-seventies. . . . And I don't listen to much of it. Whereas his drumming of the sixties just inspired and inspires the hell out of me!

I do believe that it is likely depression at work the final years. From what I know from intimate secondhand knowledge of depression, that would fit the facts quite distinctly. When you get ill and depressed, you do different things with your life than when you are vital and pleased.

Yes, Blues in Orbit. . . well it's one of the funniest albums I have! I just get a hoot out of the playing and the titles and the general sort of cheekiness of it all.

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.