mikeweil

That's a great sounding room, best played without any amplification. I had the pleasure to perform there once, although my bandmates insisted on too much equipment.

After three attempts this finally arrived here - either my adress was truncated by postal labels or software. I just thanked their sales manager for his stubbornness - he mailed me and said this was the first time such problems arose in shipping. The music is wonderful. https://www.dominiquecorbiau.com

I just found a comment on a German jazz site about the video excerpts, written by Michael Rüsenberg: " Seit wenigen Tagen online: ein Ausschnitt aus dem bislang unveröffentlichten Auftritt von Tony Williams Lifetime im Beatclub, 24. Oktober 1970. John McLaughlin, g, Jack Bruce, bg, voc, Larry Young, org, Tony Williams, dr. Die Titelei ist falsch. TWL spielt einen Medley aus: Smiles & Grins (J. Bruce) : 00:00 - 02:38 Devotion (J. McLaughlin) : 02:39 - 05:25 Smiles & Grins Reprise (J. Bruce) : 05:26 - 06:30 Dance of Maya (J. McLaughlin) : 06:30 - 09:41 Winfried Trenkler und ich waren dort. Wir kamen zu spät zur Aufzeichnung. Wir trafen die Band (außer TW) im Hotel. Die Musiker waren verärgert über den Regisseur Mike Leckebusch (1937-2000). Sie hatten die Aufzeichnung abgebrochen. Die sehr vage Erinnerung sagt: es habe einen Konflikt über die bereitgestellte Anlage gegeben. Beatclub-üblich war Orange. TWL bestand auf Marshall. Erstaunlicherweise sind Boxen beider Marken im Bild. Interessant die überbordende Kommentierung des Videos: was die Leute so alles herausfinden! PS (08.09.22) Recherchen bei Radio Bremen ergeben, dass die Chancen, weiteres Material als diese nun frenetisch begrüßten 9 Minuten und 45 Sekunden zu finden, denkbar gering sind. That´s all there is to it! Insider vermuten die Quelle für die jetzige YouTube-Veröffentlichung (fast 100.000 Aufrufe in 6 Tagen) auch gar nicht in Bremen, sondern in Hamburg ("...ein Maulwurf"). erstellt: 05.09.23 ©Michael Rüsenberg, 2023. Alle Rechte vorbehalten" It corrects the song titles and says that chances that there might be more are practically zero, there had been a disagreement about the amps, so the musicians stopped the sessions. Beat Club standard was Orange amps, but they wanted Marshall (strangely, both brands can be seen in the video). https://www.jazzcity.de/index.php/news/2899-tony-williams-lifetime-im-beatclub

R.I.P. People like him are so important.

Thanks for the elaboration - I will have to re-listen and maybe then I will understand the differences. I do not know enough about pianistics to understand why Hakim sounded so stiff.

For a John Lewis fan, essential stuff. The notes in the VSOP reissue booklet are enlightening for the context of this music.

That's what I always thought about him. Those chromatic runs drive me mad.

Looks good, but l am not sure that l need this. What l would buy instantly is a box set with all the Blue Stars of France recordings, which are scattered over so many releases.

Well, bare feet sure have a sexy potential, but not always.

Hagetisse - De Vermikte Stilte Van Het Zijn

https://www.fremeaux.com/en/7036-art-blakey-the-jazz-messengers-live-in-paris-3561302586229-fa5862.html From the Frémeaux site: Art Blakey was among the most influential jazz drummers in the world, and his Jazz Messengers were a legendary band: you only have to look at the amazing number of great soloists it revealed in three decades (fifties to eighties.) This set contains live recordings the Messengers made in Paris on 13 May 1961 – it was the band’s golden age, fea­turing such wonderful instrumentalists as Lee Morgan and Wayne Shorter in its ranks, notably playing titles like “Moanin’” and “Blues March”. The music here is played at fever pitch by young musicians who groove like thunder; as a kind of transcription of Blakey’s version of the hard bop revolution, it probably comes very close to perfection. Patrick FRÉMEAUX The Live in Paris collection by Michel Brillié allows listeners to hear previously-unreleased recordings (made at concerts and private- or radio-sessions) by the great 20th stars in jazz, rock & roll and song. These “live” takes, and the artists’ rapport with their audiences, gives these performances an additional soul and sensibility in counterpoint to the rigorous demands of studio recordings. Particular care was taken when restoring the sound of these tapes in order to meet CD standards while preserving the original colours of the period. Patrick FRÉMEAUX & Gilles PÉTARD CD1 1 The Summit 10’21 2 Band Intro 01’44 3 Yama 12’04 4 Close Your Eyes 12’22 5 Dat Dere 09’56 6 Lost & Found 16’34 7 Round Midnight [First Concert] 12’15 CD2 1 Kozo’s Waltz 17’53 2 Those Who Sit and Wait 10’34 3 Night in Tunisia [First Concert] 11’40 4 The Theme 01’58 5 Round Midnight [Second Concert] 10’59 6 So Tired 12’37 7 My Funny Valentine 06’59 CD3 1 It’s Only a Papermoon 14’36 2 Noise in the Attic 12’26 3 Moanin’ 10’42 4 I Didn’t Know what Time it Was 05’47 5 Blues March 12’34 6 Night in Tunisia [Second Concert] 16’32 BOBBY TIMMONS (PIANO) • JYMIE MERRITT (DB) • WAYNE SHORTER (SAX TEN) • LEE MORGAN (TP) • ART BLAKEY (DMS)

There is also this, in case you haven't heard about these recordings:

It may be for Jim's busy working schedule and organissimo no longer being his only or central musical endeavor. The bookmark that JSngry posted always works for me, btw.

I had totally forgotten that I bought this two years ago! Good singer, great album. Seems she likes to pose barefoot:

Reinhard Goebel's explorations of neglected contemporaries of Mozart and Beethoven are priceless.

Yesterday, disc 6