BruceH Posted May 30, 2007 Report Posted May 30, 2007 You truly are an intrepid Mosaic listener ubu! Quote
vajerzy Posted May 31, 2007 Report Posted May 31, 2007 I really enjoy this set- I like her singing and it personifies an era that is important in the development of female jazz singers. I'm a pre-bop, 1930s jazz fan. Unfortunately I'm selling mine on Ebay- I need some body work done on a car and this is my way of financing it- so have a look at it if you're interested in this set. Mildred is underappreciated!! Quote
king ubu Posted May 31, 2007 Report Posted May 31, 2007 You truly are an intrepid Mosaic listener ubu! I guess I'm just weird... that's not restricted to my liking of chubby Mildred and that weirdo xylophone... in fact, some of it (and not just the Alec Wilder "chamber sessions") is pre-third stream and in that respect it's pretty interesting to notice the lack of reference for Norvo... the orchestra of his gets labelled as a soft one-trick pony (wrong!) and the chamber aspects seem to most often be associated with the later Norvo/Farlow/Mingus trio (not wrong, but only half of the truth). The orchestra was pretty good at swining, what with guys like Cozy Cole and George Wettling on drums, and had a bunch of good soloists, most notably Hank d'Amico on clarinet and Herbie Haymer and later a couple of others on tenor. Bill Miller (later Sinatra's accompanist for decades) was in that band as well. But the most important asset, it seems, was Eddie Sauter and his arranging... there's some really weird stuff going on there, some of it kind of at the jazz end of the spectrum covered by the Raymond Scott groups, for instance. Some almost atonal-sounding writing, too... and then there's lots of swing in there, too, sometimes all in one arrangement, and it never sounds like a pastiche-kind of medley. The one negative point of the set is the absence of the Norvo band tracks without Bailey, but I guess I'll eventually have to get hold of the Heps to make up for that (three of them, yes? or even more?) Quote
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