mjzee

Perlman DG box, disc 15.

https://www.msn.com/en-us/music/news/isaac-redd-holt-percussionist-and-jazz-fusion-pioneer-dies-at-91/ar-AA1bKI2w

Deutsche Grammophon 111 - The Violin, disc 26.

This is the final weekend to work on your BFT 230 skills!

Someone posted this from the Facebook group "The Black Page - The Zappa Page": In the Spring of '73, FZ was recording at Bolic Sound (Ike and Tina Turner's studio) in Inglewood, CA. "I wanted to put some back-up singers on the thing, and the road manager who was with us at the time checked into it and said, 'well, why don't you just use the Ikettes?' I said, ''I can get the Ikettes?'' and he said ''Sure''. But you know what the gimmick was? We had to agree, Ike Turner insisted, that we pay these girls no more than $25 per song, because that's what he paid them. And no matter how many hours it took, I could not pay them any more than $25 per song per girl, including Tina. [Actually he paid them $25 per hour per girl for the vocals session of May 31st, 1973, while they recorded voices for six songs] It was so difficult, that one part in the middle of the song ''Montana'', that the three girls rehearsed it for a couple of days. Just that one section. You know the part that goes ''I'm pluckin' the ol' dennil floss''? Right in the middle there. And - I can't remember her name, but one of the harmony singers - she got it first. She came out and sang her part and the other girls had to follow her track. Tina was so pleased that she was able to sing this thing that she went into the next studio where Ike was working and dragged him into the studio to hear the result of her labor. He listened to the tape and he goes, ''What is this shit?" and walked out. [Ike refused the name of the Ikettes being used for credits] I don't know how she managed to stick with that guy for so long. He treated her terribly and she's a really nice lady. We were recording down there on a Sunday. She wasn't involved with the session, but she came in on Sunday with a whole pot of stew that she brought for everyone working in the studio. Like out of nowhere, here's Tina Turner coming in with a rag on her head bringing a pot of stew. It was really nice."

Decca - The Mono Years, disc 15. Also contains:

Thanks for posting that. So enjoyable.

This is my favorite Ike & Tina, on the chitlin circuit. Originally The Ike & Tina Turner Show Vol. 2 on Loma, I bought it as a budget Harmony LP entitled Ooh-Poo-Pa-Doo (with a great John Van Hamersveld cover). Just driving, powerful soul. I also liked her and the Ikettes (uncredited) on Zappa's Overnite Sensation. RIP.

I liked your comments and your analyses, especially about #3. You're correct about #6, and you got Bobby H. right on #8. I actually agree with you about #9; I liked the tune but definitely thought the band could've used more rehearsal for that tricky head. Your comment about #11 was very interesting, because it turns out the producer complained about the date being too short! You're correct about Wayne and Ron Carter on #12. As for #13, you got Billy Higgins but the wrong Williams on bass.

Perlman DG box, disc 14.

Deutsche Grammophon 111 - The Violin, disc 25. Also includes side one from this:

I really like Griffin with Monk. Perhaps of all of Monk's tenor players, Griffin seemed more like his own man before, during, and after his tenure. He didn't seem to learn from Monk the way Coltrane did; instead, he brought his own thing as he navigated Monk's musical universe. I actually like him better than Coltrane with Monk, because he's more extroverted and fun. Any thoughts from those here? Griffin in 1957 and 1958 burst onto the NYC scene in a way reminiscent of the Adderley brothers. Looking at his discography, it's pretty incredible who he played with: April 1957: Blakey (in the Jazz Messengers with Jackie McLean), Lee Morgan, Coltrane, Mobley, Wynton Kelly, Paul Chambers, Clark Terry, Philly Joe May 1957: Blakey with Monk October 1957: Sonny Clark February 1958: Donald Byrd, Pepper Adams, Kenny Drew, Wilbur Ware July/August 1958: Blue Mitchell, Curtis Fuller, Monk with Roy Haynes September 1958: Nat Adderley, Julian Priester, Tommy Flanagan, Jimmy Garrison, Chet Baker, Al Haig, The Three Sounds October 1958: Randy Weston, Melba Liston, Ahmed Abdul-Malik, Machito

Decca - The Mono Years, disc 14. Also contains:

Correct! It should be easier to locate the original track now.

Perlman DG box, disc 13.

Deutsche Grammophon 111 - The Violin, disc 24.

It ain't Makin' Whoopee. Cranshaw and Steve Swallow are the two generally credited with first making the switch. I read an interview with Swallow where he basically said: why not? Thanks.

So close, but no. What song do you think they're playing? Correct! I wish the track was about a minute shorter, but beautiful arrangement and concept nonetheless. Correct! According to the original issue of this album on Mary Records, both Mary Lou and Zita play on this track (you'll have to zoom in): Very good! Correct.

I haven't found a rhyme or reason as to why it happens. And it doesn't happen very often.

Great! But it might not be permanent...you might find it happening again, even with the same album, in the future. As I've said, it's just a stupid glitch, don't let it ruin your day. I have screenshots I can share with you. Don't know how to post them here, though - I don't use a photo-share service, and our board offers almost no capacity to post image files.

That is a software bug I occasionally notice in iTunes. It's not the end of the world. If you look in Finder at where you saved the tracks, you'll see the entire album in one folder, but there is sometimes a display issue in iTunes showing the same album twice with some tracks showing in each. You can sometimes correct it by also entering the artist name in the "album artist" field.

British pianist and composer Alexander Hawkins is a creative epicenter of the London jazz scene and is regarded as one of the most innovative musicians with a surprising radius of action. His trio with Neil Charles and Stephen Davis was formed in 2012 and masterfully celebrates the connection of freedom and structure, composition and improvisation. Carnival Celestial is a fantastic work of musical presence and impressively proves what is possible with piano, bass and drums - one of the more convention-laden formats in jazz practice. "Hawkins, Charles, and Davis clearly have moved the piano trio forward and stretched it's conceptual horizons with Carnival Celestial, and in doing so, they have contributed to it's ongoing vitality," writes Bill Shoemaker in the liner notes.

Release date July 7: With the label MPS, post-war musical history was written in Germany: noble music productions with many international greats come from the Black Forest and are timelessly legendary. Some treasures from the label's archive are released by HGBSBlue on high-quality vinyl, like this hot live recording with the Pony Poindexter Quartet from1969.Poindexter, saxophonist and singer, was a native of New Orleans who came to Paris in 1964, where he lived for many years. He is credited with important impulses for the soprano saxophone in jazz, and his strongly blues-oriented style is probably related to his hometown. It was not until 1977 that he went back to the USA, where he died in 1988. In Munich he met two young Czech musicians who had a stopover there after the end of the Prague Spring before starting their successful jazz careers in the USA: Jan Hammer and Jiri (George) Mraz.Together with them, as well as the German drummer Michael Dennert (1935-2016), the US saxophonist recorded this live record in 1969, on which the four musicians move in expressive playing mood in the footsteps of their musical ancestors from New Orleans. Hammer and Mraz already show their extraordinary brilliance and maturity. Jan Hammer amazes with his earthy organ playing and Jiri Mraz with refreshing virtuosity.The Happy Life Of Pony Poindexter was the name of the release on the MPS sub-label Session back then. It has now, after more than 50 years, been re-edited, refreshed and mastered. You can still feel the sparkling power and happy gut feeling with which the music was made. Poindexter knows how to carry away the audience. Just as the musicians before him did in his hometown of New Orleans. Just hot jazz.

How many hours of music: In the left column, click on Songs. Look at the bottom of the window - it shows number of items (tracks), total time it would take to play, total size (GB, TB, whatever). As for genre, create a playlist for each genre: Go to File > New > Smart Playlist. In the pop-up window, check "Match for the following rule:" In the first drop-down box select Genre, in the second select Is, and type the genre name in the third box. Make sure "Live updating" is checked, and hit OK. This will create a new Smart Playlist listing all tracks that have that genre listed. Click on it in the left column and look at the bottom of the window to find your stats. IMHO, one of the big losses of the last decade is that instruction manuals are no longer printed. I used to read those cover to cover to learn how to use a particular program.