king ubu

yesterday my own copy of the Mingus Cornell 1964 set arrived! (I've had a sealed copy lying around for over a month but that one's a birthday gift for a friend whom I'll meet this saturday...)

in the open CDR trading is not allowed here, sorry. anyway I don't have what you're looking for.

when king ubu still used to hunt, he often went after the pink rear-ends of pavians... does that make his brain a girly one? or was that in fact the fat rearend of ms ubu that he mistook for his porkpie hat?

interesting indeed - Universal France did loads of good stuff in the latest 80s and early 90s, to some extent until now (Mingus America 2CD reissue last year, or Great Concert a bit earlier) - think of all the glorious Randy Weston stuff and those nice albums of Teddy Edwards', for instance... and the whole Anniversary/Heritage series run of a few years ago, too. While at the same time, Universal US (and Germany) have wrapped things up and stopped almost any real activity in the jazz segment. yeah, sure, ride on cowboy! don't waste any human capital, though

we dig, dig? congolese rumba, for instance! or don sleet or farka or rachid taha... it's all good (except not all's good...)

king ubu just wanted to let thee know that king ubu just bought a copy of "Black Dahlia" in a frustrated impulse shopping tour and hence us digs that avatar, too, so we sayeth to Aggie, asking him to pass the word to shawn via aloc, king ubu said. king ubu plays what he feels will suit his guests tastes, might be anything from funky piano trios (Red Garland, Wynton Kelly, Bobby Timmons) to world via Wilbur Harden and Hildegard Knef Sings Cole Porter... not forgetting the thanks to ourselves largening fanbase of "Swinging Ballroom Berlin" box no. 2...

yesterday's mailbox haul: Son de la Frontera - Cal (Nuevos Medios) Johnny Cash - American IV Harry Edison - Sweets (Verve LPR/digipack) Camille - Le sac des filles

you're in deep shit! not that we aren't, either, but not just that deep yet... why doesn't dubya ban human reproduction just to ensure the coming reign of the puritan dream? now that would be a good joke to end the administration with, much funnier than tearing out the "w" from all d.c. keyboards!

That would be fine with me... that's what I should have done, too!

same here... actually two discs would be nice in this case since if you focus on new releases, most or all of it will indeed be new to me, too, but generally, the long run of 2CD sets (including my own, which would have been a lot stronger had it been reduced to one disc... but I had not time to do that...) has been rather tiring. PM to follow!

guess it wouldn't be a bad idea not to forget the photo...

and an older one from when I still made attempts to play the saxophone... (must be 5 or 6 years old... I stopped playing about 3 years ago but plan to start again some day, once them effing studies are done and I got a decent job etc etc etc... all bad excuses, I know... boils down to it not being of that much importance at this very moment... but that will definitely change again, anyway... here you go)

seems the attachments got lost in the revamping of the board (in other threads, too)... here's a recent photo with (l. to r.): mr bassman, me, and mikeweil:

Thanks for your clearing post, Big Al. That album has always been a paste-job...

getting older, huh? congratulations & all the best! have some of your favourite brew, play some boom-jackie-boom-chick and other obscure british assets, and enjoy!

IMO, this is the way to hear this great music. I'm at work so I can't check my "Impressions" set, but aren't there a couple of tracks that didn't fit onto the VME? Amazon shows two versions of "Surrey with the Fringe on Top" (one a "reconstructed" version) and also two takes of "Four on Six" (one billed "live version"). What's the deal again? Is one of the "Four on Six" takes not from that live date, actually? If so, why is it programmed halfway through the live session on disc 2? Anyway, it's a great date! And the few tracks on disc 1 are probably about as much of Wes' Verve output as I need... (ok, I have the encounter with Jimmy Smith and two of the other VMEs, the two blue ones... not bad, but not really great either).

just a thought, but I think the "top to bottom" approach may be one of the core reasons why they're all on a sinking ship in these music multis... they are so effing clueless up there!

I'm at work, but yes, could be it was a Van Gelder's... the way you describe the piano's sound makes sense to me... it's really low-fi, even to my non-trained ears... About the Milestone session, I think it's fascinating... at times it's painful and too dark and brooding to enjoy, but then at other times it can almost have a soothing effect, too (I once played it to not hear the noisy neighbours when I had a migraine, and it did quite connect iwth me, then... possibly that was because I wasn't feeling well then...)

Haven't watched any tennis for years... but late last night I watched the last hour of the great match of Wawrinka's - wow! Most impressive! And the enery they still had after 3 and more hours!

Ah, I see... stupid me forgot to check the timings... I have the missing track as part of the Verve box (in fact I got the "Alone" VME after having the box, as I realized it had additional music). Are they better then the Riverside? Yes! The Riverside solo session (it came out on Milestone actually, didn't it?) is fascinating, but has a somewhat improvised, unplanned feeling... while "Alone" is different - the liners from the VME interpret Side A as sort of a sonata (it's four songs that can be viewed together as forming four movements). Side B was originally just one track, a long, mesmerizing workout on "Never Let Me Go", with the actual melody forming the core of the performance. The VME includes a couple of alternates (including a shorter 10 minute take of "Never Let Me Go"), and a rehearsal of a Medley (also part of the big box). What I find a bit weird though is how "meshed" (mashed?) the sound of the piano is...

By the way, Sharpe "supervised" the session and he's the "Jackie" from the title tune. Gonsalves died in Sharpe's flat, he was one of the closest friends of Gonsalves', it seems. from the linernotes: "As the last track was Paul's choice, the next one Village Blues was Pat Smythe's. Long a fervent admirer of John Coltrane, Pat suggested this Coltrane original, as he had always wanted to hear how this blues would sound fashioned by the Gonsalves method. To make up the voicing that Paul thought this number required another tenor was added for this track. A bystander who happened to be in the studio was used, no one knew his name -- but all the boys agreed that he was indeed a real 'sharp cat' if they ever heard one. He is to be heard again for a fleeting second on the final bars of You Are Too Beautiful." Thanks! I read on the blogity sphere that this was Sharpe (or was it in the AAJ-britjazz thread? Found it via google is all I remember). Sharpe also does a short appearance on the other Vocalion album of Gonsalves' that's been on CD thanks to Dutton (don't have it yet, though).

Up - and this time with context, so you know what I'm talking of: regarding the reissue of Paul Gonsalves' Boom-Jackie-Boom-Chick: By the way, Sharpe "supervised" the session and he's the "Jackie" from the title tune. Gonsalves died in Sharpe's flat, he was one of the closest friends of Gonsalves', it seems.

Thanks for your long reply to my post, Marcus... I guess I took "Blue Bossa" for "Manha de Carnaval"... very bad... the later is so much a better song! (Blue Bossa was nice on its initial recording, but it's been done to death...) Anyway, the track reminded me of that great, surreal scenery in this empty government office building... that alone makes the film a great one!

up! here's the entry from the crappy jazzdisco site, with only the bonus material listed that's part of the big rusty box (and the first of these is in fact the item in question, I guess, the one missing from the VME (or is it a question of editing and they found the longer alt that's in the box to be a splice or anything?): Bill Evans Solo Bill Evans (p) NYC, September 10, 1968 106580 Never Let Me Go Verve V6 8792 106581 Here's That Rainy Day - 106582 On A Clear Day - 106583 A Time For Love Verve V6 8792, V3HB 8841 - A Time For Love (alt. take) unissued 106584 Midnight Mood Verve V6 8792, V3HB 8841 All The Things You Are / Midnight Mood unissued * Bill Evans - Alone (Verve V6 8792) * Bill Evans - Return Engagement (Verve V3HB 8841)

I'm sorry to hear that. Glad you're not angry at me... I was in a hurry posting and indeed a film pic would have been a better idea.