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Everything posted by king ubu
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Sorry it took so long! Check your PM or mailbox for some of John's about possible skips on disc 2 please!
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forgot to mention: sent by Mosaic Records...
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Lookie here, everybody, just in my mailbox: WHOAAAA!
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I don't know it, but yeah, sucks big time!
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Maybe organissimo.org really is a microcosm of the actual jazz audience. I never was too fond of any later Shepp (the last album I really love is the trio on Enja, "Steam"). Rudd, though... I absolutely love his recent "MaliCOOL" album, and as I said, he's on top form with Lacy (on that official release as well as on a live recording I've heard). Then I recently got the Shepp/Waldron "Left Alone Revisited" from the library and rather liked the few cuts I've heard so far, not only because of Waldron, so I'll have to return to that one!
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You mean the "orgler" on #10? Not sure the right name has come up already... will have to check tonight when at home!
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That was a Toshiba Direct-To-Disc LP, a rare bird, but well worth the search. A solo each, two duos, and two quartets with George Duvivier and Shelly Manne - the most swell piano duo ever Is there more from this "unofficial" recording? They are way loose on this! I love Lewis, and his duos with Hank Jones all the more! Lewis wrote that Koko arrangement for the MJQ Ellington CD. Now let's nail the rhythm men ... Now who's that organist, or, as the late, highly original AFN radio jazz moderator Clay Sherman used to say, the "orgler"? Wild Bill? Yeah, sure, nail 'em!
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Which alto player sounded the most like Bird?
king ubu replied to Hardbopjazz's topic in Miscellaneous Music
First vote for "other"... want to bring Eric Dolphy into this discussion. I'm aware he didn't exactly - as a whole - sound all that close to Bird, but: I think he captured the essence of much of what Bird did way more and way deeper than guys like Lou Donaldson or Phil Woods (who are great musicians, but not all that original, I suppose). Maybe I look at Dolphy as sort of an extension of Bird, starting where Bird left off. What I mean to say is that an important part of Bird was his explorative mind (sure, he had his pet licks, too, but...), and musicians like Woods or Donaldson or Stitt lack that (while being highly competent players in their own right, but confined to some sort of "style"). -
Disc 23, track 13 - there's a track index in the back of the booklet .... Yeah, sure, I know, but you don't expect me to carry that sucker with me wherever I walk And sorry I was confusing again, YES to Lewis and YES to Hank J. I love the two! This, as you may have noticed, is not from an official recording - but I can highly recommend "An Evening with two Grand Pianos" (Atlantic) and also, related, "Our Delights" (OJC/Galaxy, with Flanagan/Jones). Definitely keepers, both. I see Jones/Lewis did another album together, "Piano Play House" ubu
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Kenny who?
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And Nate: please do accept John B's offer for a replacement of Disc 2! I'd be happy if you'd have a working disc! And John will be royally refunded for taking these pains!
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Time to give some BIG for Nate and Tom... That soprano... just such a short passage and Nate gets it right! And Tom is right on the money on the "repertory band" playing "For Dancers Only"! The guy Faddis is evoking... well, not sure he was on the original recording, but he was condictung the band that night... On #5 - again, not Duke's band, but half of the guys are ducal. Not the soloist, though... On "Blood Count": again I have to admit I have neither heard the original ducal take (is it on the 24 CD box? Have made my way up to where the sacred concerts begin, but not further yet), nor the Getzian classic version... so I take this as what I hear it to be, and based on that I find it awe-inspiring and masterly. On "Body & Soul" - didn't occur me to compare it to the James Clay version, will do so, however! Thanks! Jim has, btw, identified "Jada" correctly, only I didn't tell him really, yet And catesta has not been given the royal track-by-track treatment, but I want to let him know that: on bro'r Jones! Now you ought to make up who the two (yup, two!) guys tinkling on are, on "KoKo"! Enough for now! Again thanks everybody for your wonderful posts! All the kids in the band have been raving... oh wait, that's not my line ubu
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I guess all you guys listened to this one more attentively than I ever did... it just had to be placed here, for thematic reasons... No youngsters, though they came a wee bit later than the original... today they're all old veterans. That alto I think is quite better than some of the rather weak altoists BN hired in the Fifties (those one-session guys..., not Jackie Mac or Spaulding). Not Evans, and nope, I guess none of those among you who said they should know the drummer do actually know him You're right on the money as far as the time of recording is concerned! I have never heard of Pino di Modugno, though I'd certainly be interested! I'm growing to be more and more of an accordion buff! That sound is on my source, it's indeed a pity... As I said, rhythmically I prefer this quite some over C.T.'s version! I think this drummer is incredibly good here! Funny that again the trumpet player sounds familiar (hint hint), I guess you, Nate, would be the only person accross the pond that I think could indeed know him! Well, you know this guy now! One of the goals of my BFT. Not Carla, not at all... Again introducing some new guy here! Thanks Nate for some interesting comments!
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Tom & Nate, thanks a lot for some interesting posts! Nate, glad the discs finally arrived (have heard you had problems with disc 2, but I'm still only catching up with this thread first. Not too clever, no sir! Your ears don't betray you! I like that Rolls Royce engine metaphor! The drummer is the biggest name in here, I still wonder no one has tried to drop some names... mikeweil? Care to give a shot? You have? But not from me, I think! The tune and the pianist have been nailed, but the leader not yet... The two tracks that got the most flac... Dig Sangrey's post on this one... he's right on the money B-) As I said before: yes, these are all pros, indeed, and the band is a mix of working group (or at least project) and "stars" added for the occasion, so... the french horn player is not Tom Varner Nope, and no free horn players here... all arranged, except for the solos. Thanks again, Tom!
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Hmmm, I tend to disagre.. I look at this, the Lacy/Rudd and the Taylor/Redman/Elvin as sort of a series, and while the last is ok, and the Lacy/Rudd I love, I never found the Shepp/Rudd all that good.
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hope this helps a poor moose finding its way... ubu
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not with that diet of his! this is the first hit of a google image search for "catesta" I'd say: gotcha! busted! ubu
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Yes, sure, absolutely...
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Lon, go see Wong Kar Wai's "2046". I didn't find it an equal to "In the Mood for Love", but it may still be one of the best movies to come out, recently (while "In the Mood for Love" may be one of the best, ever... my opinion, of course, but I gather that - outside of this board - I'm not alone...) A shot from the film: Another still that is from one of the best scenes of the film:
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Another big fan of "Cross Country Tour" (and "Ahmad's Blues", which has a few more of those great sides with Crosby/Fournier), I haven't checked out too much of Jamal's recent stuff. I saw him once live, though, back in 2001, and he was pretty good. The trio was the one mentioned above (Cammack/Muhammad) and Muhammad had some great things going on that night. Jamal, indeed, did a lot of what Jim describes above.(*) This did, sometimes, end up in a terrific groove, sometimes end up in a dead-end, though. However, after half an hour, George Coleman was added for almost an hour more (looooooong festival set, almost 90 minutes) and that was something else! To see the man whom I've loved since my teens, knowing him from the Miles 1964 Concert twofer... that was a great night! And Jamal had to do a couple of things outside his usual bag with Coleman there, too. (*) the Jamal trio as an "inside" edition of what "The Necks" do? Just a thought, maybe totally off mark...
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Love Maggie Cheung... ubu
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now on to catesta-pated: I had my share of laughs and giggles on Jarrett... Not Woods on #6, not Garland either, but I can hear some of it in the chords he plays during the horn solos. However, I think his own solo shows more of Timmons (as someone has noted above, already). And why the hell do you all think "Hamp" on "Mop Mop"? Is he just the one obvious name for the style, or do you really hear a lot of his influence in this vibist's playing? Guess I'll need to re-listen again... And I'm glad that #15 is a favourite, because that's one of the very few and select cuts there's more of to be found (only sort of, though pretty close...)
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Time for some lengthier reply to some of your post, Jim: Love that comment of yours about the melody - that may indeed be the core of late Webster (I ADORE those dutch recordings that were fairly recenlty reissued on a Blue Note 2CD set, for just that). As I said: here you get them cuts. Nothing more to be had, not Chu (tenor has been identified by several persons, but no one came that close to grouping these three together as you. on that, on Choo. Don't know if there's more of this around. These guys are all totally unknown, no Americans at all. Dig couw's comment about stiffness and adjusting (no need to do that on your end, though ) to get an idea... and check EKE's post right at the start of the thread to see the names of the guys made allusion to. I love this cut a lot. The alto is NOT Sonny Red, he's virtually unknown (not over here, but...). The trumpet man and the pianist (who does some feghing great stuff elsewhere on the disc are known, the drummer is feghin' famous, so to speak, so try again, someone, try just a little bit harder... (it's not Janis' drummer, though ) Feghin' great, isn't it! And I'm happy to report I hunted down one of the two CDs EKE linked to above and can safely tell: not from there! Now here you're just plain wrong... Check everybody else's comment to see how you should have gone all fegh is this great! Interesting that Sauer pops up a second time here! I hardly know his playing, and this is not him. Can't tell if there has been an influence. I never looked at this cut as being a hardbop interpretation of a Coleman theme (that was maybe too obvious for me to notice). I always considered these guy not just yet ready for the task (so did several others in their responses, interestingly - in a similar way, btw, than about "Mop Mop", just a couple of decades later). However, I guess this one makes A LOT more sense the way you look at it! Also the two of these guys appear elsewhere, splitted, I may say Harriott's indo-jazz stuff... well, they are in an alltogether different bag, much more loaded, if you know what I mean. This one is direct, straight, nothing here that may clog things up, and that naiveté yes, I can hear it, and I think it adds to the freshness and purity of this cut. Oh wait, here comes that freshness again Quoting this again after your comment on #13: thanks for seing this two cuts as focussed! So do I, but some do disagree here... I really thought I'd pick the "freer" stuff in a way that may not piss too many off in too harsh a way, and it worked with some, in regard to some cuts (the ones in question, I think, are #10, #12, #13, and maybe #16, which was liked the least). Pretty much same opinion here. Just wanted you to hear this pianist, and that one cut is indeed a helluva good one! The "Blue in Green" similarity has escaped me so far, will have to re-listen. Note that (as far as I can tell) you're only the second poster to nail the french horn! I love the french horn, and I think this guy is one of the best around these days. The band was a mix of stars and working guys, but then among the working guys, some are here appearing on instruments that they don't usually play, so things are a bit special in several respects. I tellya these guys DO have team spirit! Saw them live once and they're freakin' mad! This is sort of a free track in disguise. I love it. The guitar has that sweet sound, and the whole group sound is not too far off, but still there's a lot going on. The bass player is another impressive youngster (so are the other two) that I'm quite fond of and have seen in a few different settings. :g :g A bunch of thanks, Jim, for taking the time to write up these notes (and even more for sitting down and caring for the music!) ubu
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Nope, no Ribot here! Surprise guy, but a good one! I like the drummer and bassist equally well.