Jazz Reissues

[gypsy-tail-wind Moderator Biomasse Registriert seit: 25.01.2010 Beiträge: 68,342]

Die Meinert wurde vor einigen Wochen oder schon Monaten bereits besprochen … leider ist die CD – mit mehreren Bonustracks – wohl bereits weg.

In Sachen Monk/Coltrane at Carnegie Hall, nur für alle Fälle – kriegt man hier:
http://www.mosaicrecords.com/Thelonious-Monk-_John-Coltrane-at-Carnegie-Hall-LP-231/productinfo/231-MR-LP/
Oder hier:
http://www.jazzmessengers.com/en/17704/john-coltrane/november-1957-at-carnegie-hall

Grandiose Musik!

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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #163: Neuentdeckungen aus dem Katalog von CTI Records (Teil 2), 13.5., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba

[gypsy-tail-wind Moderator Biomasse Registriert seit: 25.01.2010 Beiträge: 68,342]

• Ben E. King: 7 große Songs des „Stand By Me“-Sängers

• Warum „A Day In The Life“ der größte Triumph von Lennon/McCartney ist

• Zum Heulen zumute: Die traurigsten Filme auf Netflix

• Studio-Magier: Die 8 besten Musikproduzenten

• So klingen die größten Schlagzeuger ohne ihre Band

• So arbeiteten die Beatles am „Weeping Sound“ für das White Album

[captain-kidd Registriert seit: 06.11.2002 Beiträge: 4,140]

Drei Alben mit seinem ersten Quartett. Kenne nur ein paar YouTube-Schnipsel. Die sind interessant, aber jetzt auch nicht herausragend. Kennt jemand die drei Alben? Lohnen die sich?

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Do you believe in Rock n Roll?

[monoton Registriert seit: 07.02.2010 Beiträge: 1,018]

Ok. Entschuldigung. Hatte die Erwähnung der „Carsten Meinert Kvartet“ LP verpasst. Lustigerweise von Spiderland himself. Mir ging es aber um die fantastischen Vinyl Reissues von „Frederiksberg Records“ im Verhältnis zu Dol. Einer aktuell ehrenhaften Verwaltung des musikalischen Erbes im Verhältnis zu auf Vinyl eruptiertem digitalen Diebstahl. Und kauft Euch bloß kein letztes Exemplar vom „Christian Schwindt Quintet“. Alles schon besprochen, CDs schon weg (oder so).

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[gypsy-tail-wind Moderator Biomasse Registriert seit: 25.01.2010 Beiträge: 68,342]

monotonOk. Entschuldigung. Hatte die Erwähnung der „Carsten Meinert Kvartet“ LP verpasst. Lustigerweise von Spiderland himself. Mir ging es aber um die fantastischen Vinyl Reissues von „Frederiksberg Records“ im Verhältnis zu Dol. Einer aktuell ehrenhaften Verwaltung des musikalischen Erbes im Verhältnis zu auf Vinyl eruptiertem digitalen Diebstahl. Und kauft Euch bloß kein letztes Exemplar vom „Christian Schwindt Quintet“. Alles schon besprochen, CDs schon weg (oder so).

Ha ha … jeder, wie er mag, und natürlich keine Entschuldigung nötig, wenn hier für jede Wiederholung eine Entschuldigung gepostet würde, wäre das Forum ein einziges wucherndes Geschwür

Ich habe ja auch nichts gegen Vinyl-Reissues, manchmal kaufe ich mir auch welche von der teuren Sorte (jüngst das neuste von Matsuli Music … ich wieder hole mich auch noch mal, Inhlupeko von den Soul Jazzmen ist klasse).

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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #163: Neuentdeckungen aus dem Katalog von CTI Records (Teil 2), 13.5., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba

[monoton Registriert seit: 07.02.2010 Beiträge: 1,018]

gypsy tail wind..Ich habe ja auch nichts gegen Vinyl-Reissues, manchmal kaufe ich mir auch welche von der teuren Sorte (jüngst das neuste von Matsuli Music … ich wieder hole mich auch noch mal, Inhlupeko von den Soul Jazzmen ist klasse).

Da ich es noch nicht benannt hatte: Vielen Dank, gypsy, für den Hinweis auf „Inhlupeko (Distress)“! Ich nehme jeden themengetreuen Hinweis dankbar auf! Dieses Album habe ich mir unmittelbar nach Erstnennung (für teuer) auf Bandcamp geordert. Ich bin sehr froh, dass ich dieses Album habe, obwohl mich hier die Rarität nicht proportional zum Empfinden erreicht. Die Coltrane Reminiszenz des Carsten Meinert Kvartets erreicht mich bspw. unmittelbarer. Nichts desto trotz: bitte teile weiterhin jedes Jazz-(Vinyl)-Reissue mit (mir) uns!!

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[gypsy-tail-wind Moderator Biomasse Registriert seit: 25.01.2010 Beiträge: 68,342]

Gestern kam die offizielle Mitteilung über die neuste Box von Mosaic – freue mich sehr darauf!

Classic James P. Johnson Sessions (#262)
Mosaic Records Limited Edition Box Set

Duke Ellington, Count Basie, Earl Hines, Art Tatum, Willie “The Lion” Smith and , of course, Fats Waller, knew about James P. Johnson, regarding him not only as their musical father but also as the “greatest pianist in jazz.” Later, even modernists like Thelonious Monk and Bud Powell would admit to his influence. – Bob Hilbert, liner notes for Mosaic Records MD4-109

Release Date: Mid-December
Limited Edition: 5,000 copies

6 CDs – $102.00

Eclipsed, Forgotten But Starting Now—Revered As A True Original

He wrote „Charleston.“ You know, that song you hear anytime you ever see anyone dancing the Charleston.

He was Bessie Smith’s and Ethel Waters‘ favorite accompanist, with a particular knack for throwing in beguiling fills he conceived in the moment, much to the singers‘ delight.

He was a surrogate father and teacher to Fats Waller. Try getting any notice for yourself after taking that showman under your wing!

But first and foremost, James P. Johnson was one of the most important, if not THE most important, stride pianists, a style that developed in New York in the 1920s and the first music that sounds like what we call jazz. It was more rhythmically complex than anything before it. More harmonically challenging. More exuberant and crafty. Stride was also more than the music. It was a challenge to the musicians who gathered at Harlem cutting contests determined to conquer its intricacies, and to conquer each other. And because of its invitation to create and improvise, it was a platform at last for self-expression.

Johnson also wrote popular and theatrical music, symphonies, concertos, ballets, operas, plus a wide number of smaller pieces like sonatas and a string quartet. In fact, his wide interests and talents gave reason for some to call him a jazz sell-out, and discount his contributions. For decades, Johnson was all but forgotten.

Mosaic, The Antidote to „Forgotten!“

Mosaic first presented James P. Johnson in the record company’s earliest years, that focused on the six sessions he recorded for Blue Note. (That set is sold out, and never to be released again.) But there has never been a comprehensive set that chronicles James P. Johnson’s contributions to jazz from the beginning of his career, almost from the beginning of jazz itself. Until now.

„Classic James P. Johnson Sessions 1921- 1943“ compiles all the sessions led by Johnson originally released on OKeh, Columbia, Bluebird, Victor, Signature, Pathe and Vocalion, plus sideman sessions where he solos significantly or contributes something noteworthy. On six CDs, it shines the light on every facet of his talent, including his stunning work with blues singers such as Bessie Smith, Lavinia Turner, Ethel Waters, Ida Cox and more.

James P. Johnson was fortunate to come along at a time when music was in transition, born into a family that encouraged his musical gifts.

The Birth of Stride

He was born in New Brunswick, New Jersey, in 1894, and as a child learned his first simple piano songs from his mother. A later move to New York exposed him to real musicians and to formal classical training, which Johnson pursued for decades into his adult life.

Willie „The Lion“ Smith. Ragtime was popular. Johnson added his influences. As a boy, he used to watch from the top of the stairs as his mother and her Southern relations performed „ring shouts“ in the living room. He added some of those distinctive rhythms. Also, he incorporated what he called „concert effects,“ a technique that employed a lot more of the piano than ragtime used, to fill out the sound and make it more orchestral.

A word or two on the distinction between ragtime and stride, to underscore what every player in jazz owes to Johnson:

Ragtime vs. Stride

Ragtime was earlier. It was primarily a repertoire of songs composed, learned, and performed. Ragtime’s broken, ragged rhythm pointed to future musical innovations that would be called jazz because syncopation was at the heart of it, but ragtime was neat and tidy, and the piano needed to be freed before jazz could develop.

Stride was that next important step. It was louder and faster, more aggressive. Still largely a piano music, stride used the whole keyboard, not just the middle four octaves, as performers „walked“ up and down the keys with the left hand. There was still that „oom-pah“ bass line, derived from black march music and layered with counter rhythms, typical of music from African roots. But stride was less controlled and less structured than ragtime – more jazz-like – in all ways. If ragtime was a repertoire, stride was a way of playing. You could play popular music of the day in stride. You could play songs from musicals in stride. And you could improvise. That was the big one. Stride allowed more danger and personality. And while many stride pianists played their own signature figures over and over, improvisation was something James P. was particularly known for.

He was especially appreciated by singers he accompanied, who loved the way he punctuated the lyrics. The very first Johnson recordings where you can actually hear the piano were made with Lavinia Turner, and they are on this Mosaic set. On another Lavinia Turner session, he places something new and original in every vocal break.

You’ll also find his very first recording of „Carolina Shout,“ which became a staple of the stride tradition. You can hear echoes of rags and dance-oriented pieces that were popular, the call-and-response of ring shout, and other borrowings, but the improvisation and sheer breadth of his expression was completely unknown before him.

He made 14 sides and a movie with Bessie Smith, including her most famous piece, „Back Water Blues.“ He wasn’t known especially for blues, but what Johnson was doing was laying down the rulebook for all jazz accompanists that followed him.

An Experimental Session

Included also are „Snowy Morning Blues,“ one of Johnson’s most successful recordings, as well as a session by the Louisiana Sugar Babes, which was really Johnson, Fats Waller at the organ, Jabbo Smith on cornet, and Garvin Bushell on clarinet, alto saxophone, and bassoon. Bushell and Smith were in the pit orchestra of the show „Keep Shufflin'“ with Waller and Johnson, and these recordings have attained nearly legendary status for the rare opportunity to hear the creators of the music performing the tunes, with experimental instrumentation, recorded in a venue (the former Trinity Baptist Church in Camden) known for its exceptional sound quality.

There are so many gems on this set, far too many to list here, including solo work, ensemble work, Johnson accompanying singers by himself and with ensembles, small band sessions, and well as his important work as a sideman with King Oliver, Clarence Williams, Teddy Bunn and Spencer Williams, Mezz Mezzrow, and more.

The package comprises 158 tracks, including eleven never before released. Our exclusive Mosaic booklet features a session-by-session analysis by Scott Brown and many photos that are rare and delightful to see. There is also the most complete discography ever of James P. Johnson’s important early work.

Sadly, most of his compositions in the classical style are completely lost. We are extremely proud of our opportunity to present his jazz recordings for an audience determined to preserve his legacy.

Quelle:
http://www.mosaicrecords.com/prodinfo.asp?number=262-MD-CD&utm

Diskographie zur Box, von ebenda:
http://www.mosaicrecords.com/discography.asp?number=262-MD-CD&price=$102.00&copies=6%20CDs

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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #163: Neuentdeckungen aus dem Katalog von CTI Records (Teil 2), 13.5., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba

[gypsy-tail-wind Moderator Biomasse Registriert seit: 25.01.2010 Beiträge: 68,342]

Live At Carmelo’s (2-cd Set) + Unreleased Tracks
Don Menza
Featuring: Sam Noto (tp, flh), Don Menza (as, bs), Sal Nistico (ts), Frank Strazzeri (p), Andy Simpkins (b), Shelly Manne (d)

REFERENCE: FSRCD 883_2
BAR CODE: –

These live performances at Carmelo’s were a great experience for me. It was a chance to play with some of my favorite players and, as time has proven, they have become jazz legends. Because of the time limitations of LP’s, we had to choose from 2 nites of recording and only six tunes were picked for the original LP release. Here are some of the other tunes played on that historic live recording. Sam Noto was in town with the Bob McConnell Big Band. Sal Nistico flew in from N.Y.C. and the rest of us were here in L.A.

Thanks to the efforts of the late Herb Wong (my good friend) we had the opportunity to record the music of Frank Strazzeri and some of my charts. These charts were originally written for trumpet-tenor-trombone, but after the untimely death of Frank Rosolino everything was put on hold. On these recordings I played the trombone parts on baritone and some on alto.

It was curious that all the players on these recordings are from the East coast, and yet everyone considered us “West coasters” (always thought of as the cool school). As you will hear, these takes are anything but cool. My thanks to Jordi and Fresh Sound for re-releasing these recordings.

—Don Menza, Los Angeles, October 2015

Tracklisting:

CD 1

01. The Third Eye (Strazzeri) 7:39
02. Opals #1 (Strazzeri) 9:46
03. I Don’t Stand a Ghost of a Chance
(Crosby-Washington-Young) 5:21
04. Don’t Scuffle, Just Shuffle (Strazzeri) 11:18
05. Why the Dreams (Strazzeri) 5:28
06. Hip Pocket (Strazzeri) 9:28
07. Steppin’ (Menza) 7:38

CD 2

01. These Are the Things I Love
(Barlow-Harris) 8:04
02. Opals #2 (Strazzeri) 12:46
03. Quasimodo (Parker) 6:22
04. From the Hip (Strazzeri) 6:38
05. Winter of My Discontent (Wilder) 5:20
06. Tenor Madness (Rollins) 20:44

Source:

Tracks #1,2,6 & 7 on CD 1, and #3 & 5 on CD2, were previously issued only on the Palo Alto Jazz LP “Hip Pocket – Live at Carmelo’s” (PA 8010). All other tracks appear for the first time on this CD.

Personnel:

Sam Noto, trumpet & flugelhorn; Don Menza, alto
& baritone sax; Sal Nistico, tenor sax; Frank Strazzeri, piano; Andy Simpkins, bass; Shelly Manne, drums.

Recorded live at Carmelo’s, Sherman Oaks, California, October 2 & 3, 1981

Original recordings produced by Herb Wong

Engineered by Biff Dawes, Wally Heider Recording Studio, Hollywood, California
Mixed by Jim Mooney, Sage & Sound, Hollywood, California

This CD compilation by Don Menza
Newly remastered by Joe Sidore, Shadow Hills, CA

Produced for CD release by Jordi Pujol

Stereo · 24-Bit Digitally Remastered

————————————————-

Review:

-Hip Pocket

„Don Menza tried a change of pace on this album, doubling on alto and baritone instead of his usual tenor. He has had the misfortune to record the majority of his dates for now-defunct labels, and this LP will be a bit hard to find. Menza teams up with tenorman Sal Nistico, trumpeter Sam Noto, pianist Frank Strazzeri, bassist Andy Simpkins and drummer Shelly Manne for music that is as swinging as one would expect from these players. They perform Strazzeri’s originals, Menza’s „Steppin‘,“ an Alec Wilder obscurity, and Charlie Parker’s „Quasimodo.“ Fine modern bop music.“

Scott Yanow -All Music Guide

Quelle:
http://www.freshsoundrecords.com/live_at_carmelos_2-cd_set_+_unreleased_tracks-cd-6363.html

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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #163: Neuentdeckungen aus dem Katalog von CTI Records (Teil 2), 13.5., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba

[soulpope "Ever Since The World Ended, I Don`t Get Out As Much" Registriert seit: 02.12.2013 Beiträge: 56,509]

gypsy tail wind

Live At Carmelo’s (2-cd Set) + Unreleased Tracks
Don Menza
Featuring: Sam Noto (tp, flh), Don Menza (as, bs), Sal Nistico (ts), Frank Strazzeri (p), Andy Simpkins (b), Shelly Manne (d)

REFERENCE: FSRCD 883_2
BAR CODE: –

These live performances at Carmelo’s were a great experience for me. It was a chance to play with some of my favorite players and, as time has proven, they have become jazz legends. Because of the time limitations of LP’s, we had to choose from 2 nites of recording and only six tunes were picked for the original LP release. Here are some of the other tunes played on that historic live recording. Sam Noto was in town with the Bob McConnell Big Band. Sal Nistico flew in from N.Y.C. and the rest of us were here in L.A.

Thanks to the efforts of the late Herb Wong (my good friend) we had the opportunity to record the music of Frank Strazzeri and some of my charts. These charts were originally written for trumpet-tenor-trombone, but after the untimely death of Frank Rosolino everything was put on hold. On these recordings I played the trombone parts on baritone and some on alto.

It was curious that all the players on these recordings are from the East coast, and yet everyone considered us “West coasters” (always thought of as the cool school). As you will hear, these takes are anything but cool. My thanks to Jordi and Fresh Sound for re-releasing these recordings.

—Don Menza, Los Angeles, October 2015

Tracklisting:

CD 1

01. The Third Eye (Strazzeri) 7:39
02. Opals #1 (Strazzeri) 9:46
03. I Don’t Stand a Ghost of a Chance
(Crosby-Washington-Young) 5:21
04. Don’t Scuffle, Just Shuffle (Strazzeri) 11:18
05. Why the Dreams (Strazzeri) 5:28
06. Hip Pocket (Strazzeri) 9:28
07. Steppin’ (Menza) 7:38

CD 2

01. These Are the Things I Love
(Barlow-Harris) 8:04
02. Opals #2 (Strazzeri) 12:46
03. Quasimodo (Parker) 6:22
04. From the Hip (Strazzeri) 6:38
05. Winter of My Discontent (Wilder) 5:20
06. Tenor Madness (Rollins) 20:44

Source:

Tracks #1,2,6 & 7 on CD 1, and #3 & 5 on CD2, were previously issued only on the Palo Alto Jazz LP “Hip Pocket – Live at Carmelo’s” (PA 8010). All other tracks appear for the first time on this CD.

Personnel:

Sam Noto, trumpet & flugelhorn; Don Menza, alto
& baritone sax; Sal Nistico, tenor sax; Frank Strazzeri, piano; Andy Simpkins, bass; Shelly Manne, drums.

Recorded live at Carmelo’s, Sherman Oaks, California, October 2 & 3, 1981

http://www.freshsoundrecords.com/live_at_carmelos_2-cd_set_+_unreleased_tracks-cd-6363.html

:dance::dance::dance::dance::dance: …. und im Zweifel : :dance::dance::dance::dance::dance: ….

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  "Kunst ist schön, macht aber viel Arbeit" (K. Valentin)

[gypsy-tail-wind Moderator Biomasse Registriert seit: 25.01.2010 Beiträge: 68,342]

Du hast fast 6 Stunden gebraucht, ich glaub Dir nicht, dass Du Dich freust

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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #163: Neuentdeckungen aus dem Katalog von CTI Records (Teil 2), 13.5., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba

[soulpope "Ever Since The World Ended, I Don`t Get Out As Much" Registriert seit: 02.12.2013 Beiträge: 56,509]

gypsy tail windDu hast fast 6 Stunden gebraucht, ich glaub Dir nicht, dass Du Dich freust

es war heute wieder einmal ein besonders bescheidener Tag im Bergwerk und so kommt meine Rückmedung spät aber ebenso von Herzen …. habe ehrlich gesagt nicht geglaubt, daß das gesamte Material jemals veröffentlich wird …. eine Art verfrühtes Weihnachtswunder ….

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  "Kunst ist schön, macht aber viel Arbeit" (K. Valentin)

[gypsy-tail-wind Moderator Biomasse Registriert seit: 25.01.2010 Beiträge: 68,342]

soulpopees war heute wieder einmal ein besonders bescheidener Tag im Bergwerk und so kommt meine Rückmedung spät aber ebenso von Herzen …. habe ehrlich gesagt nicht geglaubt, daß das gesamte Material jemals veröffentlich wird …. eine Art verfrühtes Weihnachtswunder ….

Ich weiss, hatten wir ja neulich, als ich mir die LP doch mal noch aus dem Laden um die Ecke holte … meinst Du denn, dass diese Doppel-CD „das gesamte Material“ enthält? Von wieviel war denn die Rede (und woher stammte überhaupt die Information, dass es mehr gäbe)?

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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #163: Neuentdeckungen aus dem Katalog von CTI Records (Teil 2), 13.5., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba

[soulpope "Ever Since The World Ended, I Don`t Get Out As Much" Registriert seit: 02.12.2013 Beiträge: 56,509]

gypsy tail windIch weiss, hatten wir ja neulich, als ich mir die LP doch mal noch aus dem Laden um die Ecke holte … meinst Du denn, dass diese Doppel-CD „das gesamte Material“ enthält? Von wieviel war denn die Rede (und woher stammte überhaupt die Information, dass es mehr gäbe)?

http://forums.allaboutjazz.com/archive/index.php/t-8039.html?

Fortunately, Don owns the rights to „Hip Pocket.“ Unfortunately, he’s been unable to find an interested producer for this great date. I’ve actually spent a fair amount of time on the phone talking with Don about the Hip Pocket session, and a bit of energy trying to connect him with a producer. He tells me that there are great tunes that could now be added to a cd release, and I have no reason to doubt him.

Könnte also schon das gesamte Material jetzt auf Fresh Sound sein … ich hatte noch eine (bessere) Quelle, aber finde die jetzt nicht ad hoc :doh: …..

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  "Kunst ist schön, macht aber viel Arbeit" (K. Valentin)

[gypsy-tail-wind Moderator Biomasse Registriert seit: 25.01.2010 Beiträge: 68,342]

Danke! AAJ hatte ich ja irgendwann zu verfolgen aufgehört …

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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #163: Neuentdeckungen aus dem Katalog von CTI Records (Teil 2), 13.5., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba

[redbeansandrice Registriert seit: 14.08.2009 Beiträge: 14,067]

FWIW, hatten wir glaub ich noch nicht: Es gibt seit ein paar Wochen nochmal einen Schwung von diesen Impulse Twofern…

Ahmad Jamal – Tranquility / Outertimeinnerspace
Albert Ayler – New Grass / Music Is The Healing Force Of The Universe
Marion Brown – Three For Shepp / Vista
Gil Evans – Out Of The Cool / Into The Hot
Chicho Hamilton – Passin‘ Thru / Man Of Two Worlds
Keith Jarrett – Fort Yawuh / Treasure Island
Keith Jarrett – Death And The Flower / Backhand
Pharoah Sanders – Tauhid / Jewels Of Thought
Pharoah Sanders – Thembi / Black Unity
Archie Shepp – Things Have Got To Change / The Cry Of My People
Gabor Szabo – Gypsy ’66 / Spellbinder
Yusef Lateed – 1984 / The Golden Flute

http://www.jazzecho.de/various-artists-jazz/news-und-rezensionen/news/article:236702/impulse-2-on-1-doppelte-dosis-jazz-klassiker

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[gypsy-tail-wind Moderator Biomasse Registriert seit: 25.01.2010 Beiträge: 68,342]

Oh, Lateef :liebe:

(andererseits, warum wieder „The Golden Flute“ und nicht eins der noch fehlenden? wie üblich halt, war ja auch bei den früheren dieser Twofer öfter mal so … das Freshsound-Prinzip, von den Majorn reappropriiert …)

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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #163: Neuentdeckungen aus dem Katalog von CTI Records (Teil 2), 13.5., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba