Jim R

You didn't mention Trane, but I assume you're talking about the Harden/Coltrane set that came out a few years back, yes? I just mention it because that set does not quite equal the complete Harden on Savoy (he also did the outstanding KING & I session with Tommy Flanagan, and was also a sideman on one of Curtis Fuller's Savoys). Okay, so I'm a nitpicker.

38. I'm pretty much of the same opinion as Daniel A- it's been awhile since I bought one for the purpose of upgrading the sound. It's not that I think that's completely unnecessary, but with so many other CD's I want to buy, I just can no longer afford to buy every sonic upgrade. I've had all this music for so many years on old LP's, reissue LP's, and early CD's, that I've really gotten tired of rebuying everything. I'll do it mainly when I'm getting at least some tracks that aren't already in my collection. Plus, like Daniel I've got a lot of TOCJ's that I really like (and spent a LOT of money on)...

I wish it WERE that simple, Brad, but if you read my posts again I'm actually saying the opposite. It's my Brazilian CD's that label it as "MAS Que Nada", and it's my understanding that Mendes' hit single here in the U.S. used the word "MAIS".

Jim, thank you for spelling it all out- saved me a BUNCH of time! All I can really add in terms of pure data is the album- EAST BAY GREASE. I saw them three or four times between '73 and '75. Had all their albums (which I foolishly let go of). Check this out- the first time I saw them was at a wild animal park called "Marine World - Africa/USA" south of SF (it later moved north). They had an open-air venue there called "The Jungle Theater". To this day I still wonder what the animals were doing during the concert! I saw the Crusaders there, too, BTW. At any rate, you're going to get me re-motivated here (I've thought about gettiing some CD's from time to time). Anybody know if there's a boxed set? (might as well take care of it in one swell foop)...

I know this is trivial stuff, but I'm trying to sort this out anyway... As I said above, I had never even known that Brasil '66 recorded it, and I don't own their version, but it was my understanding that on the Mendes U.S. hit single version was spelled "Mais" (I saw a specific reference to this topic on a discussion board, posted by someone who owned the original 45rpm). Knowing that "mais"= more, and "mas" = but, and that the english translation of the full title is "more than nothing", I'll go along with "mais" as being correct.... BUT, what puzzles me is that I have a dozen versions of this tune in my Brazilian collection (ranging from the 1960's up to 2001), and they ALL spell it "Mas". As Shrdlu said, maybe the misspelling has been adopted/accepted, but it seems odd- especially if everyone in Brazil knows it's wrong, yet a U.S. hit single spelled it right! Anyway, I'm asking my friend Joe Carter about this, and I'll let you guys know if it becomes any clearer... B) One of these days, I'm going to go on a Brazil '66 / '77 / etc binge. I've neglected that stuff for too long, I think...

According to Michel Ruppli'e Verve discography, 8278 was not released. The session (Oct. 11, 1957 in L.A.) was released on NOTHING BUT THE BLUES (8252): Roy Eldridge, Stan Getz, Ellis, Ray Brown, Stan Levey patti cake, blues for janet, big red's boogie woogie, tin roof blues, royal garden blues, blues for junior, soft winds, pap's blues

"His niche is quantity" NO SHIT??? I agree with Mark, and from some of the other little tidbits of information (like the part about turning an old Rockola into a liquor cabinet), I'm sure I wouldn't want to hang out with this guy...

I wonder how they squeezed it onto 5...

FWIW, the other tracks on the Eddy Louiss Trio album besides "blue tempo" (aka "theme for emmanuel") were: no smoking,you've changed,don't want nothin' (Clarke),nardis, and hot house (labeled as "groovin' high")

To sum up here... find some way to get the box!

The original thread was magic. The sequel never quite reached the same level. A third time might cause bloating, nausea, and... well, you know.

My main online source (and not just for jazz) for about four years running. I've had them get discs to me (in California) in TWO days. You're right about their reviewer(s), though, I'm afraid...

1. Well, I can't say I'm surprised to learn it was Aleman. The fact that I guessed it was him doesn't mean much, because although it was an "educated' guess, I really had no familiarity with his actual work (never actually heard him, that I know of). I said that this pre-dated my interest/taste, and I basically still feel that way. The sound itself doesn't move me, and the artistry and style just aren't enough to overcome that. Glad to have been exposed, at any rate. 2. Not much I can add to what's been said. The JJ Mosaic remains one of my proudest possessions. 3. I'm going to have to give Wilen some more attention. I have several discs by him, but none of them ever grabbed me the way that this track did (probably because of the special qualities of the rhythm section on this). I'll be particularly curious to see whether his tone was fairly consistent on the other recordings I have, and whether the sound/engineering from this particular studio made a distinct difference in the way I reacted to him- which was VERY positively! I KNEW I should have bought more of those Jazz In Paris discs.... 4. I STILL need to practice more on Jitterbug Waltz. An old favorite of mine, and MUCH harder to actually play than it might seem (at least on the guitar!). I've been opening up more and more to LeGrand over the past few years, as a composer and as a pianist. A very talented man, who probably doesn't get as much attention as he deserves. 5. I already knew that I had been neglecting Tubby Hayes. I've been aware of him for many years, but up until the past few years (with the CD releases of several of his albums) I was never very motivated to hunt for his stuff. My first exposure to him was a CD I bought about ten years ago, called "100 % Proof". I bought it because the group included my man Louis Stewart on guitar. Unfortunately, I hadn't expected it to be an "out" recording (for the most part, at least), and it wasn't my cup of tea. A few years ago, I got a copy of "Changing of the Guard...", and although I liked it, it didn't motivate me to track down more Tubby. It now occurs to me that I need to get on the ball. 6. This one was an eye-opener, and I'll be paying more attention to anything I see by Ibrahim. 7. Actually, I did keep my mind open to any and every geographical possibility on this one, but my limited knowledge of eastern european jazz prevented me from suggesting anything from there. During my searching for clues, I did come across Namyslowski's name at AMG, but there was insufficient data in my brain to make any connection with the recording. At least I can say to Jim: I TOLD you it was european! I enjoyed this enough to open myself up to the possibility of seeking more. On the other hand, now that I've listened to this track 157 times, I may need a break from this guy!! 8. I knew I should have bought more of those Jazz In Paris discs. 9. As I said, I'm somewhat of a completist when it comes to Rene Thomas. His sound just gets me- always has. He used the same equipment as a number of other guitarists of his era (he was heavily influenced by Jimmy Raney), but his attack and his sound are so distinctively meaty compared to most of the others. "Blue Tempo" is probably my least favorite track on this session, FWIW. Somebody commented on the "creepy" sound of the intro (I've forgotten the exact complaint), and I guess I react in a somewhat similar way. Anyway, I still think this album/CD is one of THE greatest o-g-d trio recordings I've ever heard. 10. A learning experience. I've got to give this one more time, and I may be inspired to investigate further. 11. SO much good jazz, so little time. Again, I'm going to be open to whatever I may come across. 12. Still not my type, but it's good to be exposed to different things. 13. Ditto # 12. 14. I'm in agreement with Jim's citicisms. Not sure there's enough here to have made me a new fan. I'm in a hurry right now, but again I want to thank Tony and Dan. This was an absolute blast.

I've admired her for a number of years for a variety of reasons, but have never quite gotten off the fence. I enjoy her voice, her piano playing, love her choice of material... but I find myself gettng anxious when I listen to her. I WANT to get used to that s........................l..........................o.............................wwwwwwwwwwwwwww delivery, but so far I've been unable to do so. It might happen if I keep trying, though. And I probably should. She has SO much going for her. My curisosity about this disc (which I never knew existed) caused me to look up the particulars, so as long as I'm at it, here they are: Date: October 1987 Location: Mapleshade Studio, Glenn Dale, MD Label: Audiophile ldr - Shirley Horn; p - Shirley Horn; eb - Charles Ables; d - Steve Williams; v - Shirley Horn a. 01 Since I Fell For You - 07:13 (Buddy Johnson) b. 02 You're My Thrill - 04:20 (Sidney Clare, Jay Gorney) c. 03 How Long Has This Been Going On - 07:05 (George Gershwin, Ira Gershwin) d. 04 My, How The Time Goes By - 05:12 (Cy Coleman, Carolyn Leigh) e. 05 Estaté (Summer) [original or English lyric ver. 1] - 08:38 (Bruno Brighetti, Bruno Martino, Joel Siegel) f. 06 Forget Me - 03:37 (Valerie Parks Brown) g. 07 I Watch You Sleep - 06:35 (Richard Rodney Bennett, Joel Siegel) h. 08 Softly, As I Leave You - 03:00 (Hal Shaper, Antonio DeVita, Giorgio Calabrese) i. 09 Dindi - 06:10 (Antonio Carlos Jobim, Ray Gilbert, Aloysio Oliveira) All titles on: - Audiophile CD: ACD-224 - Softly (1988)

Intersting stuff, Jim. What did you think about Daniel's mono/stereo observations? There may be something to that in terms of figuring out a place and time, but I can't quite see this recording dating to the early 60's, based on what the saxophonist is doing (I'm hearing a lot of early 60's Coltrane influence on this). I would have thought there would have to be a delay of at least a few years for this altoist to be reflecting that. I could well be wrong, though, what with the natural ability some players have of copping styles quickly...

I came across Ward's name too, during some web searching. I had heard of him, but I know ZERO about him. Same with Kenyatta, actually. The thing that still puzzles me is what the age of that recording is. At first I assumed it was vintage late 60's, but when I began to think about how influential the music of that period was, it occurred to me that it could have been recorded much later (not unlike the situation with #11). I don't know why, but I've been kind of leaning toward europe on this one all along. It's just a hunch- I can't base it on anything, really. The only european altoist that I could think of right off the bat was Jaques Pelzer, but I guess he's too early to fit with this style. At any rate, Jim, I wonder if we've exhausted the possibilities of that aforementioned "series" (the one that #3 came from)... I guess those are all probably too early, though...

Daniel, that's cool- I've never heard of him, but I just had a hunch about his location.

Hey Noj, in a perfect world, I can imagine having you paint (or sketch) something to correspond to each track- now THAT would be cool! B) Call me greedy...

Daniel, regarding track 14... is there any chance that the pianist is from your country? B) I knew I was probably off when I mentioned Rubalcaba and Ozone (dead silence followed ), and I assume that this is a player I've never heard before. Anyway, sure- post a link! We're about to get the answer anyway, so you might as well tell us!

NO WAY! Seriously, Noj, I enjoyed your analysis. You provided some interesting insights (personal though some may have been) into the music itself, and I think that's refreshing. We could all do more of that, giving our personal feelings about how the performances make us feel, etc.

Daniel, I understand your idea and I think it may have merit. Ideally, it would be best if the timing was even for everyone, so your idea may prove to be a good one. The thing is, no matter how long we wait to start the discussion, there will inevitably be some posters who will manage to post their thoughts before many of the others (in other words, some posters are inevitably going to find the discussion well underway by the time they are able/ready to make their first post). So, I'm not sure that it really makes much difference. I think we have learned from the first test that people should really give the disc some careful listening and considerable thought before they decide to open the discussion thread and begin reading the comments of others (that is, if they want to avoid being influenced/helped with the thought process). Everybody will have their own preferences and approaches to this, I think, and that's how it should be.

Looking forward to it, Dan!

A couple of thoughts. First, to me, the "competetive" factor has to do with testing myself to see how many I can figure out. Some may come quickly, others may take more time to "click". So, when Jim Sangrey said "I take these tests seriously", I know what he means. It's a challenge. A personal challenge. But the idea of competing against other board members and keeping score, well, I don't think it's necessary and could prove to be detrimental to the overall atmosphere, if you know what I mean. Male egos, you know... Secondly, what's this about using the "honor system" here? That is, why would it apply here and not on the main discussion thread? I think it already does, so I don't really get the point of setting up a separate thread. In the end, it's up to each individual to decide if they want to be honest to themselves. There's no way to control that unless we go overboard and "police" the whole test somehow. So, if I'm missing something here, please explain it to me. From reading the posts ahead of mine here, it doesn't look like people want to make an actual competition out of this, but I'll agree that if somebody does want to go that route, that's cool...

Alan, I also want to thank you for the Cadence link. $20 is a lot better than $30 or $35, ordered from Japan! I might also mention again (it's been awhile since I posted it) that if anybody is interested in the Eddie Higgins titles, Eddie sometimes has copies to sell. I bought a couple from him for $15 each awhile back. He's also a really nice guy and seems to enjoy writing letters (no computers for E.H.). I have both his summer and winter addresses, for anybody who's interested. On a related topic, has anybody else struggled to get information from the VENUS RECORDS website? Between the fact that it's almost entirely in Japanese and their apparent (?) choice not to list all of the CD's they've issued, I'm pulling my hair out. Even what they do list doesn't seem very well organized (difficult to find/identify the links you want). Maybe I should see how many are listed at AMG...