mikeweil

I just received a newsletter from Dutch label Challenge that looks like they are continuing the Criss Cross label. "Teekens' family intends to sustain the label and keep the legacy alive" https://www.challengerecords.com/catalogue/1184071128/Criss Cross

I think it depends more on our local internet providers than on the forum's server. I have noticed respnse speed varies, but is pretty fast most of the time.

Jim is a busy man and on the road, me thinks. Just be a little patient.

romualdo bet me to it. 👍

The OJC CD was the first issue of these three tracks.

I have this set, too. The sound on original LPs or Verve CD reissues is only slightly better. What bothers me more is that it does not include the piano solos and the few tracks where Shearing plays accordion. I have these on two compilations. Together with the Savoy material it would be even better. I just happened to order a copy of an oop Vogue CD that includes the one track US reissues always omitted, "George's Boogie Woogie".

Yes, but maybe Mel could not? Listening to this right now. Nice collection of mostly rare stuff and a good essay by Will Friedwald. He tells that the Ogerman arrangement was inspired by a demo Bob Dorough cut that never saw a release.

The one thing that bugs me about this box is that they cut off the first note on Equinox. I think the sound is very good, but the extreme stereo separation is not to my taste. The mono masters would have been a better choice but obviously some of these are lost.

RIP. I never was a fan, but always felt deep respect for his attitude. Saw him twice with Globe Unity and he was great on both occasions.

There was a widespread traditional scene in Germany because this was a style older people could relate to from the time before the NAZI regime. The radio big bands covered the swing style. Newer styles like bop and cool were known only to connoisseurs and the audience of the few jazz concerts staged. One more problem was and is that the tradjazz scene has many amateur musicians, doctors and lawyers, and younger musicians being opposed to their lifestyle. Modern and free jazz developments here had a lot to do with avoiding anything associated with remainders of third reich culture. The Brötzmann interviews posted in his obituary thread will tell you some about this. Mangelsdorff made similar statements in interviews l have watched or read. Brötzmann made his first recordings in 1965 with free style bands. One would have to search for all the names in the Tom Lord Disco to find out about the others.

https://www.jazzmessengers.com/en/97228/various-artists/we-jazz-magazine-issue-8-shadow-shapes

The only Tormé CD I have is this compilation, received many years ago as a gift from a singer and vocal coach as a "thank you" for reviewing his jazz choir CD. The Mel-Tones from a Musicraft CD booklet:

http://www.madduran.com/cdcovers/bossanova.jpg http://www.madduran.com/cdcovers/bossanova.jpg http://www.madduran.com/cdcovers/brazil.jpg

My favourite Espresso from a local coffee roaster:

This, btw, seems to be the first recording of the tune, with Ben Tucker playing on it: The grrove is totally different!

Intersting that Bob Dorough didn't record it himself before 1979 (according to Tom Lord, whatever that means). Lord lists all of Tormé's recordings of the piece. I'd like to hear an early Dorough version.

BTW - who thought up those lyrics? I grew up with the Herbie Mann live version with Ben Tucker guesting, which has no hint at these phrases.

You cannot improve something that is not there in the original source.