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king ubu

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Posts posted by king ubu

  1. Sorry for being such an egoist, EKE!

    Have you picked up one of those live Storyville CDs?

    ubu

    I ordered "Live Tatum vol.1" from CDUniverse. It hasn´t arrived yet. Will post when I listen to it.

    My hunger for Tatum grows and grows dangerously. :D

    PS: No need to worry for being an egoist, ubu. Who´s not an egoist nowadays? :P

    I actually do my best not to be... never have been on very good terms with "nowadays"... listening to jazz in old europe sure makes people think you are one hell of a strange person (well at least in switzerland, it often seems like that - jazz did not cross the alps with Hannibal, Napoleon or the Russians!).

    I read about you having ordered Vol. 1 of the Storyvilles. Please do indeed report back when you get it! I shall consider picking them up, too.

    ubu

  2. Brad, the Pablos were not discussed here so far.

    I made some comments on them in another (unrelated) thread. I went on vacation for two weeks in october and took with me both the Pablos, the Capitol 2CD and the 20c Piano Genius 2CD. It was exhaustive listening, and I was overwhelmed! You really should not be scared by virtuosity, though that's probably a difficult thing with Tatum.

    I only heard the Pablo solo material once in chronological order, then went back to some single discs, or some tracks. It is exhaustive, but it's worth the time!

    Well I did some search and found that post of mine:

    Well, among the 20 CDs I took with me for my two weeks vacation (which had to end, alas, yesterday), were the Tatum solo, group (both recently acquired via 2001 and unlistened till then), the Capitol and the 20th century piano genius sets.Sounds like an overdose, and, indeed, I was overwhelmed more than once.

    I started with the Capitol sides, then went on to the Verve stuff, then the solos, and finally the group masterpieces.

    The Solo Masterpieces is certainly one of the very most impressing sets I ever heard! Yes, you got to take it in small doses, but after having heard the Capitol and Verve stuff, I was familiar with quite a few tunes (& their arrangements), which made it much easier for me to listen to those 7 discs of piano genius.

    I have had similar feelings about some (actually about all) of the Group Masterpieces sessions as EKE. Tatum needs no drummer (hardly ever the drummers start a tune, or establish a tempo - Tatum usually handles this on his own, the others - the drummer being among them - enter later on), neither does he need a bass player (and, sorry, but Red Callender is just a little bit too stiff, cuts his notes short without letting them really sound. He certainly was no bad player, but he's just not one of my favorites). The drummers are great, and do a good job, too (nice to hear Bellson and Rich for once not showing their pyro-technical skills), but, hell, Tatum could do all this himself! Then regarding the horns (and Barney Kessel), it does quite often seem like they do just sort of "play along", yet there are so many delightful and beautiful tunes in that collection (my favorites would probably be the Webster sides, my least preferred the Edison/Kessel date, but they're all very close and all at least good, and all include stunning Tatum solos, of course...).

    I find the liner notes to be quite helpful regarding the problem of interaction (or rather of the difficulty of it) with Tatum, by the way.

    ubu

  3. Based on all the interesting comments in this discussion I picked up the Fruscella Atlantic disc recently, and yesterday found a copy of the Spotlite LP "Fru'n Brew". No chance to spin it yet, but I love the Atlantic! Thanks for all this information, guys! :tup

    ubu

  4. I know, Adrian! I have picked up Vol. 3 Bud! In its RVG incarnation, and it's beyond comparison. Yet, I have listened to the stuff in the box so many times, it would be like losing an old friend to dump it!

    The liners are good, in my opinion, and I have gotten used to "read" the session infos etc. the way they put it there.

    And then, the two Roost dates, at least the first of which is essential, too, in my opinion, are not available on a single CD except from Japan.

    But I will pick up the RVGs someday, I know!

    ubu

  5. Dan, I never knew that was his brother, don't have any of his discs.

    You might find a lot you like on TCB! Check out their site: http://www.tcb.ch. Go to the Red Spine series in the catalogue section.

    There are records by Louis Hayes, Buster Williams, and Steve Nelson, among others. While I don't have many of them, I think the "agb" series is a good one!

    ubu

  6. excellent Powell, I think I will always regret getting Powell's complete on Verve as ther is so much poor playing on that disc that it spoilt my appreciation of Bud at his best .

    Vol 2 and Vol 1 on BN are sure his peak ( along with his earliest Verve stuff)

    That was my impression, too, when I first was through the Verve box, yet somehow I at least appreciate everything by Powell I heard up to date.

    Certainly the earliest Verve dates and the Blue Notes collected on Vols. 1 & 2 are the prime Powell, and yes, brownie's thought about genius is really accurate for these handful of dates!

    I have hoped to pick up the RVG (still have the old 4CD box), using this thread as an excuse to do so, but had no time yet.

    Keeps some more comments coming!

    ubu

  7. Matt, I don't know Serenade to a Bus Seat, but if you start digging Terry, you should look for his Emarcy debut album, just called Clark Terry (AMG), reissued in the Verve Elite Edition series. A very good one! Jimmy Cleveland, Cecil Payne, Horace Silver, Oscar Pettiford, Wendell Marshall and Blakey are the sidemen.

    Another real good one is the album he made with Monk, In Orbit (AMG), on Riverside.

    And Daylight Express (AMG), a twofer featuring a short Terry album as well as a good date he co-led with Paul Gonsalves, is another good one.

    Another Verve Elite Edition disc featuring extraordinary work by Terry (and Burrell, Hancock, Carter) is Ed Thigpen's Out of the Storm (AMG).

    I think all of these (except In Orbit) are OOP, but might still be around. Keep your eyes open and grab them if you pass them by!

    ubu

  8. Thanks, P.D.!

    Hell, I recognized Mondragon! ;)

    The possible tenor chase could be explained by Enevoldsen and Klee both playing (at least) section tenor to get the three tenors & bari four brothers sound (as Feather states). So there might be some short solistical phrases with several tenors involved...

    The personnel listing implies that the Octet this time includes Cooper and Giuffre, respectively. (There's these Tormé Bethlehems were the "Paich Dek-tette" listed has 10 musicians + Paich, so those octet/tentet tags seem not always very reliable)

    Will listen to the album next week sometimes and check it out and report back!

    ubu

  9. I just picked up this GNP Crescendo LP (it was released in the Vintage Series, as GNPS 9040, date on sleeve is 1977).

    AMG mentions the following musicians:

    Conte Candoli - t

    Bob Enevoldsen - vtb (solos), ts (in ensembles)

    Harry Klee - flute (solos), ts (in ensembles)

    Bob Cooper - ts

    Jack Dulong - bari

    then obviously Giuffre, on tenor, maybe other instruments, and Paich on piano.

    AMG states that Giuffre "replaces Cooper on the later session" (the dates given are Nov. 9 and 10, 1955. (See the review here)

    Now my question: does anyone has more details, and knows if Giuffre plays on half of it, only? I guess I won't be able to tell Cooper and Giuffre, if they're both on tenor only!

    The liners do identify the soloists, but not the tenor player for each track. Then, it would seem a little bit of nonsense to call the LP Tenors, and then mention only Giuffre if Cooper was in the same role for half of the LP, no?

    The liner notes (by Leonard Feather) mention Art Mardigan being the drummer. So we only seem to miss the bass player, if it's 8 musicians + Giuffre. If it's 8 + either Giuffre or Cooper, we would miss someone else, too, but I don't think this is the case.

    Feather writes:

    Neither the ears nor the memories of those involved can be quite certain of the roles played by the various soloists in Tenors West; but it is safe to state that Harry Klee played saxophones in a section role and was heard as a soloist only on flute. Bob Enevoldsen, though he played tenor on both dates, soloed only on valve trombone. Bob Cooper plays the tenor, in counterpoint to with Enevoldsen's bone, on Paichence, and it is probably Cooper also on Take the A Train, but the rest of the blowing may be credited to Giuffre."

    This does not make it clear if Cooper and Giuffre were both on the two dates (on which nothing is said besides what's in the quote above).

    So my guess: two dates, both 8 (incl. Cooper) + Giuffre. Maybe Joe Mondragon could be the bass player? Max Bennett or Red Mitchell also played in Paich outfits in that time.

    Anyone has done some research on this one?

    thanks,

    ubu

  10. Late, I have the one in two - two in one, and I could ask a friend to make a CDR, however, you might find someone from the states doing that, otherwise, send me a PM!

    I am no Braxton expert, not at all, but the few things I have heard, I did like them.

    He was in Willisau this year for a solo concert - quite a strange affair! Somewhere between total command of the saxophone and though somehow one might think he sounds almost like a beginner...

    Keep coming more recommendations!

    ubu

  11. Just make it all HAT material. That would be an excellent set!

    ahem, that's a little bit embarassing, but I am not such an avid Hat collector. I have maybe 15 releases only. Maybe 20.

    There are other swiss labels, as INTAKT, Altrisuoni, TCB...

    ubu

  12. Found today:

    Tony Fruscella & Brew Moore: Fru'n Brew - a 1953 live date, Spotlite SPJ151

    Tenors West: Jimmy Giuffre with the Marty Paich Octet (GNP Crescendo GNPS 9040)

    Sal Salvador featuring Eddie Costa: Tribute to the Greats (originally on Bethlehem - BCP-74 -, mine's the Fresh Sound reissue.

    ubu

  13. Jim's list is pretty impressive!

    Some very good albums there! The Jazztet plays John Lewis is great, Naima is (as has been said), and several others I like a lot, such as: Cliff Jordan, Mosaic; the Sonny Red twofer, all that Blakey stuff (dig the Walton solo on the opening track of Free for All!), the Eddie Harris Atlantic albums (four of them were collected in a very nice 2CD package by 32jazz)...

    The man was all over the place!

    He provides some of the highlights of Morgan's Rajah, in my opinion.

    ubu

  14. I just got the Paris one from amazon Germany.

    It's a one CD SACD thing, from Delta Music.

    Personnel is Ferrara, Candoli, Travis, Brookmeyer, Dennis, Ralph, Quill, Donoval, Allen, Mulligan, Clark, Lewis.

    Is that correct? The liners mention Zoot Sims being there, too!

    The tracks are:

    YOU TOOK ADVANTAGE OF ME 4.24

    BLACK NIGHTGOWN 3.56

    BODY & SOUL 5:36

    BWEEBIDA BOBBIDA 9:13

    BARBARA'S THEME 5.41

    APPLE CORE 4:59

    COME RAIN OR COME SHINE 4:56

    I'M GONNA GO FISHIN' 7:18

    MOTEN SWING 13.07

    OUT OF THIS WORLD 4:09

    Is this only half of the music?

    Can someone who has the 2CD edition please compare?

    thanks,

    ubu

  15. I had to go with Shafi Hadi, because I've always been a sucker for those Mingus dates that he's on. I remember how "Nouroog" first affected me; I had to play it over and over again, and Shafi Hadi helped make "Tijuana Moods" a true classic.

    All the other specific alternatives had more exposure and left us more moments to treasure.

    To all those Hadi fans: the Avenue Jazz reissue of the Bethlehem "Modern Jazz Symposium..." album has some real good bonus tracks: an alternate of Slippers, and Bounce (Mingus), and Gillespie's Woody'n You. Hadi's BAAD on these tracks! Check it out as long as that disc's still around (it's OOP, I think, but it seems to be still around)

    ubu

  16. NAXOS has recently released new recordings of Ives #1, #2, and #3 (with a #4 likely on the way). I think all are from new 'critical editions' of the scores, with a number of errors corrected for the first time (supposedly). I have #1 and #2, and like them as much as any recording I've heard of them. (And the Naxos recording of #1 has the added bonus of being paired with the world-premier recording of a long-lost Ives piano concerto!!! Get it!! :tup )

    Thanks for this tip, Rooster! I'll look for it!

    ubu

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