king ubu

I like the few things I've heard or have from Lloyd (Passin' through with Chico, Canto, one of the Atlantics). Then I've seen him live once (a month and a half after 9-11, which seemed to have hit him quite hard), and that was a great experience! He was with John Abercrombie, Marc Johnson and Billy Hart and played a beautiful concert. Recently, he was in Germany with Geri Allen, Robert Hurst and Eric Harland. Heard broadcast, and he again was playing great, the band being great, too. Surely post-Coltrane in general mood, but his style of playing the saxophone is entirely his own, a rather unique affair, I'd say. I think seing him live makes a huge difference to just hearing him on record. He's got sort of an aura (maybe the one Benjamin meant?) when being on stage performing. I have not yet picked up the CD reissue of Cannonball's Fiddler on the Roof, but I guess that must be a good one, too! And how about a "Complete Atlantic Recordings of the Charles Lloyd Quartet" Mosaic set? That would sure be a good one, and it would sure demonstrate that this music still functions very well today! ubu

Is this the quartet part of the concert also featuring the tentet? Or was that from 1964? ubu

GoM: yes, that Powell date with Navarro & Rollins has a sound, a cohesion and style of playing, which somehow seems (hate that term, but...) ahead of their time. Then concerning Blakey: I'd also rather take the Silver Messengers (or the live at the Bohemia stuff from the same unit) as starting point of Hard bop. Then there would be the Miles dates with Silver (the third Blue Note date, Walkin', the Rollins-part of Bags' Groove) which are from about the same time (all 1954). ubu

Dan - wish you all the best for the year(s) to come. And may that "Complete Three Sounds Blue Note Sessions" Mosaic see the light one fine day... ubu

How good are those Collectables reissues (soundwise)? We get them here for abotu 25$ which is certainly far too much, and then I find them to have crappy annotation (I have seen some that don't give any personnel, and some that don't give no dates etc). Yet they have an interesting catalogue. And for Hampton: there's a very good one with a similar band in the Jazz in Paris series (called "Exodus"), featuring George Coleman and Richard Williams, among others. Cannonball: yes, I'd love that, too! A complete Emarcy would maybe bring the biggest surprise to the largest number of fans, while a Capitol thing would label-wise be the most probable (the late Capitol stuff, I'd say, because we got all safe one - which is surely just around the corner - from the Riverside/Jazzland/Capitol records). Then, it would be Fantasy's business to put out a box of the complete Riverside recordings. Yet, they don't usually include much unissued live material in their box-sets, and I'd LOVE to have some more from the San Francisco or the Japanese dates! ubu

I will pick up the Jack Johnson box - I love those Sony Miles boxes anyway, and would not want to miss one of'em! Never heard the Jack Johnson album, though, waiting for the box to come. Yet I like the post-Bitches Brew stuff better every time I listen to it. Got all those live 2CDs - a pity they decided not to bring out more stuff from those dates (the first Fillmore - wow! I'd love to have all those complete sets! And of course, Live-Evil, my favorite Miles of that period - maybe the latest Miles album to really belong to my personal top 5 or top 10 Miles albums.) Then the 63/64 stuff: Hell! There's some real GREAT playing on those concerts! The double CD of My Funny Valentine/Four & More was one of my first Miles records, and I still LOVE it! Not only because of the obviously great rhythm section, BUT because of George Coleman, too! I dig his playing on the records he made with Miles very very much! He is so fast, always accurate, clean execution, full of ideas, with a beautiful (Trane-influenced? So what!) somewhat veiled sound... And on the liners of the CD, they say the quintet performed tunes not on record (I can only remember Autumn Leaves being listed, but there may be some more). To listen to that whole (hope they can dig up that stuff!) concert as it happened (though I like the sequencing of the original albums, too) will be a thrill! Then the Antibes concert was a very good one, too (I guess we already have the complete set from there on CD). And the "Miles In Berlin" album - HELLYEAH!! Beautiful sound (the Philharmonie of Berlin), and great playing by all. That's one of the best albums of the MD-Shorter-Hancock-Carter-Williams-band, if you ask me! Hope they dig up some more tunes from the Berlin concert! Never heard the stuff with Sam Rivers, but I'm waiting eagerly for it! And the early studio stuff with Coleman - I only heard those recordings once or twice, several years ago, but I don't remember them as being bad (well, not BAAAD either, I guess), but if only for the possibility to hear Miles with some unlikely musicians (Frank Butler), they should be pretty interesting. ubu

here is a link to a lengthy article for all those who read german: http://www.sueddeutsche.de/kultur/artikel/889/17872/ ubu

You're right, of course. The image I posted is from the NYTimes obituary. ubu

http://www.nytimes.com/2003/09/12/obituari...RE-Cash.html?hp

Great choice, Dmitry! I only recently got the 2CD set. Had a double LP (Countdown) and a single Savoy/Denon CD before. Always loved that stuff! ubu

I have not yet found the time to listen to it (I mean, sit down and listen, and nothing going on besides), so I though: how about doing that right now, and post some, while listening... I always loved the opening trach (Syeeda's Song Flute) - that strangely harmonized sort of fanfare, going into the Trane song after some very interesting passages, and hell (I mean: HELL), yeah (or say: HELL YEAH) it swings like mad when that child-song-theme starts! Reggie Workman and Charles Moffett create a very solid, dense yet never overwhelmingly so, background for the horns to improvise on top. When Rudd enters behind Shepp, they sort of doulbe up the interplay of Workman/Moffett. They really are toghether (check out my favorite Shepp albums for further proof of this: Live In San Francisco and Mama Too Tight) Mr Syms: It strikes me that all four Coltrane compositions are from his Atlantic records - nothing of more recent origin. And yes, those wonderful Atlantic albums had many good compositions (besides the obvious Naima or Giant Steps). Alan Shorter seems to have his own thing together. Not too close to Don Cherry, some tonality of his own, which I quite like. Bitter? The interlude is beautiful, as is the arrangement of the tune itself. Shepp really had a beautiful sound (I think he himself though that the Enja record Steam, a great live album presenting him with just bass and drums, was the one which captured his sound closest to how it was) On Cousin Mary (http://www.organissimo.org/forum/index.php...opic=26&hl=mary)Workman and Moffett set up a very swinging pulse, over which Shepp enters with a beautiful, exploring solo. Then we hear another probing solo from Alan Shorter. He seems a little more conventional to these ears, this time, but still good. Then we hear Tchicai, playing mostly in the lower register, starting from where Shepp left. He has a very nice sound on his alto sax, too - actually, all four horns seem to have their own beautiful sound together, and this, coupled with a hard swinging and pulsating rhythm section, creates the mix and mould in which this album succeeds. The trombone theme-statement of Naima strangely enough reminds me of Mingus' composition "Eclipse", however Rudd does a good job, and Shepp enters with another beautiful probing solo, which fits the mood of the tune perfectly. He is beautifully backed by Rudd again, with help from the others, this time, but Rudd's is the voice one hears most clearly. Workman plays very good here, too, creating the backdrop and melodical counterpoint here, while Moffett is rather restricted for once. Shepp's solo-cadenza is stunning, it shows he was a real master of his horn. Then comes a hard swinging section, presented by Shepp, with some counterpoint by Rudd, who starts his solo with some deceptively simple phrases and builds from there. His sound really strikes me as one of the most vocal and human trombone sounds ever. He clearly came away from the J.J. style. The slow passage then is marvellous again. The Shepp tune that closes the album, Rufus (Swung, his Face at Last to the Wind, Then His Neck Snapped) brings back to mind that this music stems from the mid sixties. It has a sort of nervous feel to it, propelling drums, loping bass-lines, sort of a stop-and-go thing. Here we get to hear a stunning solo from John Tchicai, then some more from Shepp. They make for a very interesting match. Then we get some Workman, running, stopping, strumming - sometimes reminds me of the flamenco-things Jimmy Garrison would do with Trane. A short solo by Moffett leads back into the theme. Question: anybody knows more about the title? Is there some link between title and actual music? And, hey, looking at the last picture of the CD booklet (the one of Charles Moffett) - does he really not play a Hi-hat on the whole album? I only saw that photo when I came to listen to Rufus, so I did not specifically mind this up to Rufus, on which, it seems, he really has no Hi-hat! Hope this is worth any, ubu

Congrats! A great set which I've enjoyed from the very first hearing! Dig Charles Tolliver! ubu

Just got the shipping confirmation from amazon - and in a couple of days, the Jazz Epistles Vol 1 will be mine It's a little pricey with amazon, but this seems the way to go, as they still have it! After what you all said about it, I can hardly wait for it! ubu

((OFF TOPIC: thanks to our member couw I found out how to delete a topic - going off to work on that, now...))

Thanks, Dan, but I only see the Report, Quote and Edit buttons, no delete button in the first post of a thread... wrote Use3D a PM. However, big sorry from this part. (when writing that PM, I got a message "Mail Error" when I mailed it, but being a little bit wiser, I did NOT re-send it again... We had a similar problem a couple of weeks ago, too, I seem to remember) ---- on topic: I thought we could discuss this series in general - favorite reissues, recommendations etc, how we like them in general... I have so far picked up most of the first two and the fourth batch, and all of the third. I plan to get as many of them as I can afford, but you know... Some favorites so far are the Buddy De Franco Mr. Clarinet disc, the Herman, Gillespie and Ella (Whisper Not - love the title-track!) as well as the Brubeck/Desmond are very good ones, too. And as a sucker to Tormé I obviously like that one, too, and wait for the next to come soon. Then the Willie Bobo was a pleasant surprise for me. I like those lengthy jam tracks real good! Now they could bring us all those Buddy De Franco albums with Sonny Clark, couldn't they? ubu

Holy cow! I only wanted to post this ONCE! MAY OUR FIST OF DOOM PLEEEAZE! DELETE ALL THE DOUBLED UP THREADS AS SOON AS POSSIBLE! I got to some site telling me posting was not possible, then I hit the back button, tried to start a new thread again etc... sorry -_- ubu

Just in case anyone else is interested, and as I already took the pains... here we go: ------------------ April 9, 2002 Dave Brubeck & Paul Desmond, 1975: The Duets (A&M) Oscar Peterson, Soul Espanol (Verve) Stan Getz & The Cool Sounds (Verve) Rosemary Clooney, Swing Around Rosie (Coral) Ella Fitzgerald, Whisper Not (Verve) April 23, 2002 Willie Bobo, A New Dimension (Verve) Sarah Vaughan, It’s A Man’s World (Mercury) Margaret Whiting Sings the Jerome Kern Songbook (Verve) Astrud Gilberto, The Shadow Of Your Smile (Verve) Wes Montgomery, Willow Weep For Me (Verve) May 7, 2002 Dizzy Gillespie, Afro (Verve) Gerry Mulligan & CJB, At the Village Vanguard (Verve) Count Basie, King of Swing (Clef) Stan Kenton, The Formative Years (Decca) Woody Herman, Woody 1963 (Philipps) May 21, 2002 Carmen McRae, Birds of a Feather (Decca) Sergio Mendes & Brazil 66, Equinox (A&M) Anita O’Day, Incomparable (Verve) Mel Tormé Goes South of The Border with Billy May (Verve) Alice Coltrane, Universal Consiousness (Impulse!) August 6, 2002 Sister Rosetta Tharpe, Gospel Train (Mercury) Buddy De Franco, Mr. Clarinet (Verve) Ernestine Anderson, My Kinda Swing (Mercury) Cal Tjader, Soul Bird Whiffenproof (Verve) Terry Gibbs Plays Jewish Melodies in Jazztime (Mercury) August 20, 2002 The Gigi Gryce-Donald Byrd Jazz Laboratory & Cecil Taylor Quartet, At Newport (Verve) Sam Rivers, Crystals (Impulse!) Lalo Schifrin, Piano, Strings & Bossa Nova (MGM) Slim Gaillard Rides Again! (Dot) The Jazztet At Birdhouse (Argo) March 11, 2003 Pee Wee Russell, Ask Me Now! (Impulse!) Archie Shepp, Attica Blues (Impulse!) Albert Ayler, Music Is The Healing Force of The Universe (Impluse!) Earl Hines, Once Upon A Time (Impulse!) Steve Kuhn & Gary McFarland, The October Suite (Impulse!) March 25, 2003 Dorothy Ashby, Afro Harping (Cadet) Gabor Szabo, High Contrast (Blue Thumb?) Ray Brown, Jazz Cello (Verve) Jim Hall, Live (A&M) Buddy Emmons, Steel Guitar Jazz (Mercury) June 10, 2003 John Klemmer, Involvement (Cadet) Julian “Cannonball” Adderley (EmArcy) Lee Konitz, Motion (Verve) Sonny Stitt, New York Jazz (Verve) This Is Billy Mitchell (Smash) June 24, 2003 Gerry Mulligan Meets Johnny Hodges (Verve) Phil Woods & His European Rhythm Machine At The Montreux Jazz Festival (MGM) Stan Getz, Reflections (Verve) Jimmy Giuffre, The Easy Way (Verve) September 9, 2003 Buddy Rich & Sweets Edison, Buddy & Sweets (Norgran) Hugh Masekela, Grrr (Mercury) J.J. Johnson, J.J.’s Broadway (Verve) Jack Teagarden, Mis’ry and the Blues (Verve) Al Grey, Snap Your Fingers (Argo) September 23, 2003 Frank D’Rone, After The Ball (Mercury) Blossom Dearie, My Gentleman Friend (Verve) Ella Fitzgerald Sings Sweet Songs For Swigers (Verve) Brook Benton, Songs I Love To Sing (Mercury) Mel Tormé, Tormé (Verve) ----------- Please post mistakes if you find any, I will then edit. ubu

Holy cow! (no pun intended...) This would strike a real new chord at Blue Note records'... ubu

thanks couw, you beat me! It's not terribly ugly, I'd say. Sort of the typical Roques cover, if there is such a thing. ubu

Now you mention it, I remember having seen that one, too! Thanks ubu

this gonna be the cover? ubu

you see, Tony, at least we speak loud! now thanks, anyway. Seems to be a very interesting batch! The Hill is the greatest news, of course. Then I never heard the Mobley, Morgan and Rouse, neither the Larry Young one - hell, was born too late to grab that Mosaic. But I got the Rivers Mosaic, so probably no need to get a McMaster of that one. ubu

passing something, some boom, some swinging songs or something... forgot the rest, too lazy to use my brain... try again day after tomorrow... ubu

My personal favorites would probably be Soultrane, Settin' the Pace and Traneing In (all by the quartet of Trane, Garland, PC, Art Taylor). But then all the stuff with Wilbur Harden is very good, too! There is a nice 2CD set on Savoy collecting the three sessions which were originally issued as three Wilbur Harden LPs. Lush Life then is another good one, and to sum those sessions up, you also should get The Last Trane (a comp of left-overs, but what goodies!), The Believer, and, also Trane's leader-debut, Coltrane (with the obscure Johnny Splawn on trumpet). Then I like some of the blowing sessions, as the before mentioned Wheelin' and Dealin'. But my favorite among these tenor-battle affairs is the Cattin' with Coltrane and Quinichette. I really love that date! Waldron and co. create a very nice mood, and Trane and Vice-Pres have their fun, and are a very nice fit. ubu

I'm with you... and we got to save for the Lyons box anyway... (and at least, I got the Basie live, but if anyone had a *cheap* spare copy of the studio set...) ubu