Joe Carter

I just bought this DVD, Miles Davis, The Cool Sound of Jazz, from EFOR Films, containing four tunes: So What, The Duke, Blues For Pablo, New Rumba. It's Miles with Gil Evans from 1959. My problem: the audio and video are out of sync! The video is 3 or 4 seconds ahead of the audio. Anybody else have this DVD? I'm assuming it's the same on all the copies? Joe C.

Thanks, Mike and Jim. I tried to go to sharingthegroove but it doesn't seem to exist anymore. Joe C.

Has anyone ever seen or heard the recordings of Wes and Coltrane? They did some concerts together in Califonia (I think) and long before CDs I remember hearing about some bootleg tapes. The story goes that Trane asked Wes to be a permanant member of his band but Wes declined. Joe C.

Let's not forget that Jim was tight with Ron Carter, who was tight with Herbie. Joe C.

...or Popeye? sorry, I couldn't resist.

do it Jim Marcus I'll second that recommendation. Joe C.

Thanks Marcus. Joe C.

Marcus: Do you know what's on the DVD portion? I'm wondering if it's from the actual studio recording, or perhaps a TV show or concert performance. Joe C.

I agree that those are two very good recordings. And they're playing some of my favorite tunes, like Baden's Berimbau and Consolacao. What's also interesting is their versions of the Jazz tunes like Fly Me To The Moon, My Heart Stood Still and Bye Bye Blackbird. For some reason Antonio Adolfo has been overshadowed by other brazilian pianists from the 60s, like Cesar Carmargo Mariano, Sergio Mendes, Dom Salvador and others but IMO he swings hard. One of my favorite Elis recordings is Aquarela Do Brasil, Elis Regina & Toots Thielemans, primarily because of Antonio's playing on that recording. "Wave" is a standout. Joe C.

I'll jump in here. All the info on the Baden boxed set is on the "opus" pages of the #1 Baden Powell site (along with all his other recordings): www.brazil-on-guitar.de/en/baden_powell/home.html His most jazz-like recording IMO is Tempo Feliz. I discuss it on the "Brasilian Jazz" page of my site, along with a sound sample: www.joecartermusic.com Hope this helps. Joe C.

One of these days I hope to figure out how to use the Quote functiuon :-) JC

Hi Joe, you should really get those sessions out there again, remastered and all. They are absolutely wonderful and I've had the Stash CD running several times already (the sound quality is not really that bad, I think).

Did someone mention Joe Carter? Yes, as Chuck pointed out, the Stash CD was supposed to be a CD issue of two of my Lps, one with Art and one with Lee. But they messed up and left one of the tunes off and listed Art and Lee as the leaders and then did a poor job on the sound. Luckily I have the rights back and I intend to reissue that stuff correctly at some point. But I'm glad you liked it. I started Empathy in 1980 or 1981 and then found out there was that Lew Tabackin recording on the japanese Empathy. I beleive they went out of business shortly afterwards and never released anything else. Other Empathy Lps that Stash issued on disc were a solo piano date by Don Friedman, I Hear A Rhapsody, and a quartet date (with myself on guitar) by baritone sax and flute player Cecil Payne, Casbah. There are sound samples of those on the "Empathy Records" page of my site and samples from my other discs on the "Recordings" page: www.joecartermusic.com Thanks to all. Joe C.

What? I'm sorry. I can't concentrate. I'm distractyed by your avatar.

I just received this email announcement: JACKIE PARIS A JAZZ MEMORIAL SERVICE at ST. PETER¹S LUTHERAN CHURCH 619 LEXINGTON AVENUE (ENTRANCE ON 54TH STREET) NEW YORK CITY € 212.935.2200 THURSDAY, JULY 15th, 2004, 4PM Benediction by PASTOR DALE LIND MUSIC BY JACKIE¹S TRIO With a preview screening of selected scenes from the documentary ³Tis Autumn; The Art Of Jackie Paris² featuring: Dr. Billy Taylor Hank Jones James Moody Anne Marie Moss George Wein Soupy Sales Presented by the Family, Friends and Fans of our beloved Jackie Paris. For more information please contact: Gene Davis at 212.874.1939 or Sheryn Goldenhersh at foreverarriving@aol.com or visit www.jackieparis.com

Waters Of March was the first tune that Tom wrote in English first. He was very proud of that fact. He locked himself in his hotel room in New York with a couple of Portuguese-English dictionaries and came up with that tune. Joe C.

Hmmm... I might try to find that D'Andrea CD. I'm always interested in new takes on Jobim. I think pianist Tete Montilui (spelling?) did an all Jobim recording years ago and Jim R. turned me onto Eddie Higgins' all Jobim (except one tune) CD. I picked up an italian pianist doing all Jobim for a japanese label. I got it knowing the sound would be good but I was surprised about how much I enjoyed the performances: Falando de Amor Stefano Bollani Trio Venus Records Joe C.

Hmmm...no last names, very typical for a small label in Brasil in the mid 60s. I recognized a couple of Joao Donato tunes and Blues Walk, of course. It sounds like it might sound like a brasilian version of the Jazz Messengers. I might have to grab this one before Jim R. does. Thanks for the info. Joe C.

Jazzbo: You stumped me on this one. Who's playing what on the CD? Joe C.

OK, let's see if I can jumpstart this thread with a new recommendation: Paulo Moura & Yamandu Costa -- El Negro Del Blanco, on the superb-sounding Biscoito Fino label from Brasil. Paulo is the elder statesman clarinet player and Yamandu is the 20 something wunderkid who posses unbeleiveable chops on the 7 string violao (guitar). Yamandu won the Prêmio Visa Edição Instrumental Award in 1991, which is like Joshua Redman winning the Thelonius Monk Competetion. Interestingly enough, Yamandu is not from Rio or Sao Paulo but he's a "gaucho" from Passo Fundo. He's sort of like the young gunslinger challenging a lot of listeners with his "no holds barred" approach to guitar playing. The duo's version of Antonio Lauro's "Venezuelana" is fantastic, as are all the tunes on the disc. Another favorite is a Baden Powell-Vinicius de Moraes medley of four of their tunes. Below is a bio blurb from Yamandu's site, where you can also find sound samples and some excellent videos. Enjoy! Joe C. http://www.yamandu.com.br/ Born in Passo Fundo, he began his studies for playing the guitar when he was 7 years old with his father Algacir Costa, leader of "Os Fronteiriços" band and perfected himself with Lúcio Yanel, Argentine virtuoso established in Brazil. Until he was 15, Yamandú's only music school was the folklore music from the south of Brazil, from Argentina and Uruguay. After listening to Radamés Gnatalli, he started searching for other Brazilian artists, such as Baden Powell, Tom Jobim and Raphael Rabello, among others. When he was 17 years old, he played in São Paulo for the first time in the Banco do Brasil's Circuito Cultural, produced by Estúdio Tom Brasil, and from there onwards he was recognized as a revelation musician of Brazil's guitar. One of the greatest geniuses of Brazilian music of all times, the young Yamandú confirms and deserves all praises when he plays his guitar. Alone on the stage, he is capable of elating the most sophisticated crowds and touching the most refined ears. His dramatic interpretation renews each song he plays and reveals the deepest intimacy with his instrument. All recognition he receives in his 23 years of age is just the reflection of what he gives to his audience, recreating the magic of music when playing, passing through his body and being transformed almost miraculously. Yamandú plays choro, bossa nova and more, but he is also a gaúcho filled with milongas, tangos, zambas and chamamés. A guitar player and composer that does not fit a single music style, he is a combination of all and creates his own style with peculiar personality. Yamandú deserves the meaning of his beautiful name, "the precursor of waters". He shared the stage with Renato Borghetti, Armandinho, Dominguinhos, Oswaldinho do Acordeon, Armandinho, Almir Sater, Marcelo Bratke, Paulo Moura, Dino 7 cordas and Altamiro Carrilho, Orquestra de Câmara do Teather São Pedro ( RS), Orquestra de Câmara da ULBRA (RS), Orquestra Sinfônica de Ribeirão Preto, Orquestra Jazz Sinfônica(SP) . He participated separate in shows, with Baden Powell, Elba Ramalho and Toquinho. Yamandú excels himself each year, besides playing a 7-string guitar he is a composer and arranger. In June, he won the 2001 Visa Award Edição Instrumental, first chosen by the official and popular jury. In October 2001, he performed a singular presentation at the Free Jazz Festival, in Rio de Janeiro and São Paulo, opening the night of Jazz traditional artists.

The Master at work: Bossa nova legend casts spell in U.S. By CHARLES J. GANS ASSOCIATED PRESS WRITER Brazilian composer Joao Gilberto performs at Carnegie Hall, Friday, June 18, 2004 in New York. (AP Photo/Mary Altaffer) NEW YORK -- Despite unexpected drama, bossa nova legend Joao Gilberto overcame all obstacles to cast his musical spell on a Carnegie Hall audience with a marathon two-hour concert at the JVC Jazz Festival. Carnegie Hall - with its near-perfect acoustics - has always been a venue well suited to Gilberto's whispery vocals and his subtly syncopated guitar accompaniment, even though his debut there in November 1962 was a disaster. At that concert, intended by the Brazilian government to put the bossa nova sound on the world stage, the artistry of Gilberto and Antonio Carlos Jobim was overwhelmed by a chaotic mix of Brazilian performers and a dreadful sound system. But two years later, Gilberto made a triumphant return to Carnegie for a concert with saxophonist Stan Getz and his former wife, singer Astrud Gilberto, that resulted in the live recording "Getz/Gilberto #2," the sequel to their studio album that remains one of the best-selling jazz albums ever. Gilberto made his debut at what is now the JVC Jazz Festival in 1978 at a memorable Carnegie concert with Getz and guitarist Charlie Byrd, the first jazz musician to discover the bossa nova sound. Friday night's concert marked the fourth time in the last six years that the reclusive Gilberto has performed at the festival, selling out Carnegie each time. With the passing of Miles Davis, Ella Fitzgerald and other jazz greats in the past decade, Gilberto has become one of the festival's main attractions. "He is one of the last of the real legends," said George Wein, the JVC festival's producer. "No one can imitate or copy Joao Gilberto. It's a magic that he creates with that music, and when things are right the atmosphere is like a cathedral." The 73-year-old Gilberto, known in Brazil as "O Mito" (The Legend) fits in well among the jazz legends. He is a master in the use of silence like Miles, who once remarked the Brazilian "could read a newspaper and sound good." He also has followed in Ella's footsteps by delicately mixing in wordless scat singing into his vocals. Gilberto is the antidote in an age when too many singers rely on belting out the lyrics, backup singers and dancers, special effects and even wardrobe malfunctions to stand out. The bespectacled Brazilian with his thinning hair is hardly a sex symbol, but he is one of the most romantic singers on the planet, relying on the pure beauty of his music because most of his audiences don't understand the Portuguese lyrics. In recent years, Gilberto has stripped his performances down to the bare essentials, as reflected by his 2000 CD "Joao Voz e Violao" ("Joao Voice and Guitar"), the first studio album on which he plays without additional accompaniment. On Friday night, Gilberto walked on stage to a standing ovation, took his seat at center stage, and hunched over his guitar, opening with the briskly paced "Acontece Que Eu Sou Baiano" by Dori Caymmi. That is also the opening track on his new live CD, "Joao Gilberto in Tokyo," recorded at a solo concert last September. But by the third number, Gilberto, who is known for being a stickler about technical perfection in his shows, was clearly uncomfortable. "People help me," he pleaded, indicating he wasn't hearing any sound through the onstage monitors. The problems persisted even though Gilberto received sustained applause after performing two Jobim classics, the yearning "Corcovado" and "Samba De Una Nota So" ("One Note Samba"). "It's difficult for me," Gilberto declared. One overly enthusiastic barefoot fan jumped on stage to help, only to be escorted off by security. About half an hour into the program, an exasperated Gilberto walked off the stage. Backstage, Wein frantically directed efforts to fix the problem. Finally, it was determined that the microphones installed by Gilberto's crew before the concert were incompatible with the monitor system and they were replaced. "I felt badly for Joao," Wein said in a post-concert interview. "I had never seen him in better shape for a concert, he was there on time and gave me a hug. Thank heavens it worked out, but there was never any question of him not going out. He wasn't upset ... and said to me, `George, it's a human problem.'" After a 15-minute interruption, Gilberto resumed playing and quickly re-established a magical feeling, alternating languid slow tempo ballads with uptempo songs, mixing his unique interpretations of more obscure older tunes by Brazilian composers, such as Geraldo Pereira's syncopated "Bolinha de Papel," with the more familiar Jobim bossa nova songs. Gilberto reached one climax when he performed Jobim's "Chega de Saudade" ("No More Blues"), the song he recorded in 1958 that launched the bossa nova movement. Wein likened the thrill of hearing Gilberto perform this tune to experiencing Louis Armstrong playing his groundbreaking "West End Blues." It was on "Chega" that Gilberto took Jobim's melody and harmonies to create the bossa nova beat with his guitar playing and its voice with his soft, vibratoless vocals. As the concert neared its end, Gilberto dazzled the audience with wave after wave of classic Jobim songs: "Desafinado," "Meditacao," and the dream-like "Wave." Interspersed among them was his only English-language number, the Gershwins' "`S Wonderful," in which an obviously moved Gilberto gently sang to the audience: "`S Wonderful/Marvelous/You should care for me." After exiting to a standing ovation, Gilberto performed four encores, including Jobim's exquisite ballad "Ligia" and culminating with "Veja Garota de Ipanema" ("The Girl From Ipanema"). It was an appropriate closing note for it was almost exactly 40 years ago that this youthful celebration of sex and romance first hit the U.S. pop charts.

"Where's Joe?" "Are you talkin' to me?" "Are YOU talkin' to me?"

OK, I still don't have the quote thing down yet as you can tell from my last few posts. I'm listening to Emotiva right now. Yeah, it sounds pretty good, even though it's from 1980. He's playing mostly electric guitar. I would have prefered acoustic and an acoustic bassist. It's a little too electric for my taste. It sounds like Helio from the Elis and Tom recording. I would give it 4 stars, no wait, 3 stars, no wait, 3.5. Yeah, that's it. 3.5. Although... On one of my trips to Rio I went to Helio's quartet concert. It was quite good. A few months later a recording came out from the concert but when I looked at the credits there was another bassist listed. Later on I ran into the original bassist and asked him what happened. It seems he was out on tour with Ivan Lins and couldn't do some minor touchups on the recording so instead Helio hired another bassist to overdub the entire concert. Very strange.