Alon Marcus

I love George Garzone's work on this Mike Mainieri album: An American Diary: The Dreamings He is a great saxophonist.

Thanks!

What early recordings of Parker exist? I read that his recordings with McShan can only be found on tapes and privet collections.

Whistle While You Work =========================== Music: Frank Churchill; Lyrics: Larry Morey; featured in Disney's "Snow White". Just whistle while you work (whistle) Put on that grin and start right in to whistle loud and long Just hum a merry tune (hum) Just do your best and take a rest and sing your self a song When there's too much to do Don't let it bother you, forget your troubles, Try to be just like a cheerful chick-a-dee And whistle while you work (whistle) Come on get smart, tune up and start to whistle while you work (Official Version) Just whistle while you work (whistle) And cheerfully together we can tidy up the place So hum a merry tune (hum) It won't take long when there's a song to help you set the place And as you sweep the room Imagine that the broom is someone that you love And soon you'll find you're dancing to the tune (Spoken): Oh, no, no, no, no! Put them in the tub) When hearts are high the time will fly So whistle while you work Link

More ideas for great threads like this one over here: http://www.organissimo.org/forum/index.php...116&hl=question

How about this, The "Politics" forum is visible only to non members. Brilliant, isn't it?

Surprisingly that one is easy for me. Portrait in Jazz was one of the first things I've listened to seriously and it was one of the things that got me interested into jazz.

Joe, you know that I'm a Metheny fan and his solo on "Make Sure You're Sure" from "Wish" is mindblowing. ...and Haden and Higgins, no need to elaborate about 'em. But Joshua is the one that makes "Wish" what it is. His solo on "Turnaround" is one of the most logical I ever listened to except for those crafted by Sonny Rollins. The way he deconstructs the tune and uses it to build is amazing. It's also the tune that got me hooked on Ornette. I realized that someone who composes so well must be a very fine musician.

I think this is an example of a tune's worth being diminished by having too many lame cover versions, especially of the *Muzak* type. Same thing happened to Girl From Ipanema. Both great tunes in their original versions. I've always liked the original YATSOML. That's true! and sad The same overchewing also happened to "Take Five" and to Beethoven's "For Elise". “You’ve Got It Bad, Girl!” - is an amazing piece of art! All these songs they are so simple and yet always sound so fresh.

I think this guy is a genious. The way he writes his songs and performs them. Not all of his albums are perfect but even the worse ones contain many gems. Jungle Fever is an example IMHO, a very uneven album with few really great songs. I like very much his stuff from the 70's and had a hard time choosing. My choice is "Innervisions".

Jim I do think that Joshua Redman is a very fine tenor player. His star faded away somehow and he is steadily making his way to the overlooked category. He has "great ears" (you know what I mean, not in the physical sense ) and a fine sense of form and development. That said I admit that I haven't heard Dewey's music as much as Joshua's, only on some Ornette and Don Cherry dates. I need to hear more Dewey for sure.

Forgot Wynton Marsalis take on that tune from "Standart Time vol.1". I love that version too.

I suppose it's the worst poll ever but I just listened to those three performances in a row. Three great trumpeters playing on this fast tune with it's challenging chord changes. I like all three of them but Byrd is probably my favorite.

I think that Joshua is a voice too.

Fall is a beautiful tune but it's from Nefertiti.

Yes, agree!!!

Medeski Martin & Wood did "Orbits" on Notes from the Underground. VSOP did "Mulva"... err "Dolores" on one of their albums, IIRC. I have't heard either version. There's also one live recording of this quintet performing "Dolores" from the spring of '67, but I haven't heard it. Via AMG, versions of "Dolores" on: Mike Clark, Summertime Charles Farmbrough, City Tribes Claudio Fasoli, Jazz from Italy Coutrney Pine, Journey to the Edge Within Adonis Rose, Unity Rachel Z, On the Milkyway Express: A Tribute to the Music of Wayne Shorter VSOP, VSOP: The Quintet versions of "Orbits" on: Jarad Trio Astin, Audio Alchemy Anthony Braxton, Solo Piano (Standards) 1995 Mat Maneri, Light Trigger the aforementioned MMW album Guy Now I have to do some research... Thanks Guy!

I'm not sure I understood what you mean by saying "a lot freer and loser than those earlier ballads". Circle has a tight structure (especially compared to what goes on tracks like "Orbits") and the group follows it rigorously. You can say that the structure itself is highly original. Totally agree with you on that one

One of my favorite albums. Part of its charm is the mystery it conveys. Today I think I understand what's going on on most of the tracks. Probably this AOTW will be a good chance to ask the knowledgeable participants of the board some questions about it. "Orbits" - I know the tune itself has harmonic structure. You can find it in the Real Book (melody with chords). But I don't think that the group uses any chordal skeleton in their performance. Which means they play freebop. On the other hand the liner notes say that they don't play freebop . So is it me or Bob Belden? This song also appeared on the recent "Allegria" by Wayne with a totally different approach and different harmonic structure in improvisations. "Dolores" - I think that the guys that improvise here try to keep the structure of the song (once again you can find it written out chords + melody in the Real Book) so in this case the concept of playing choruses is relevant. The difference is that the choruses are stretched and don't have definite length. I'll be glad to hear what you all think about those two tracks. Also, are there any other performances of "Orbits" and "Dolores" by Wayne Shorter or other artists except for those already mentioned?

An Israeli web shop named Jazzis has a sale (each cd 6$) and they have EDDY LOUISS TRIO with Thomas. The link to the web shop is - https://www.jazzis.com/shop/shop_frames.asp If interested look in sale items. Just mentioned it, no commercial purposes, don't earn anything out of that thing.

Some time passed since than. I collected more interviews and blindfold tests. You can use the link I gave or see the page directly in the attached file. Once again I invite you to contribute interesting links dedicated to all types of jazz writing on the web (and other related topics).

I really like his big band album "BEYOND THE LINE". "Hiroshima Memorial" is great, the music is very descriptive. The only song on that album that wasn't composed by Liebman is "Sing Sing Sing" which gets a brilliant treatment from the master arranger Jim McNeely. The chase between Lieb and the band on that track is amazing. I like the way this band uses avant garde elements and free interplay without exaggerating.

One of the most consistent artists in the last 30 years. Her big band accomplishments are amazing especially in the era when these dinosaurs hardly exist. Right now I'm enjoying very much her "Big Band Theory" For some strange reason this one got lame reviews. It's less pretentious than her "Escalator" and the LMO's but shows her as a composer in full power. Also here is a previous discussion on her Social Studies What do you think about Carla as a composer and an arranger? Which projects she did you like and which you dislike? Is she a worthy inheritor to the Ellington/Mingus tradition? I am always amazed that in the modern jazz world women are so dominant in big bands leading (my favorite big bands leaders will include Maria Schneider and Toshiko Akiyoshi). What is the reason for it, what is their secret?