mikeweil

If you like Blakey's African Beat - with Solomon Ilori playing a prominent role, you will like this one as well. For my knowledge, a good example of Nigerian Highlife Music, and very well recorded. I enjoy it.

I'd certainly like to hear this one, only have the tracks with Rahsaan Roland Kirk on his Mercury box set: AMG's Michael G. Nastos says:

There was a 1994 CD reissue on French RCA (BMG 74321 192512): I agree this is the best of his French RCA albums.

It is still listed as available on the Dreyfus website. I like it very much, a track from this was in the first Blindfold Test!

I know of four or five LPs on Black Jazz, and he plays as much Rhodes piano on them as organ. They are all available on CD from Black Jazz, BTW. I have them on LP, like Carn's organ playing very much. I'm afraid that Savoy date is hard to get ....

When I listen to Rouse's albums as a leader, e.g. this one: I tend to think Monk was VERY important to develop his individuality. When I think of Rouse I think of Rouse playing Monk, not the other stuff, because that's him!

That may be the reason why Patton didn't catch my attention as much as Melvin Rhyne or Don Patterson. The only Patton that went to my soul right away and made me groove was Got a good thing goin'. I'll check him out more closely after your comments. What is the one desert island John Patton disk, in your opinion?

As I said, I have 'em all ....

Yes, on a very obscure chaepo CD Jim Sangrey and I discussed on the late BNBB, under Herbie Hancock's name, "folio collection, The Jazz Masters, 100 anos de Swing, EF 20015. Obviously a Spanish issue. Graphics and credits are negigible, but sound is okay.

You mean this one? Hard to get, but not impossible.

That is what I am waiting for!!!! Hell Yeah!!! And the Miles Davis live at the Cellar Door - that band was a killer live! Always was my favourite electric Miles.

Now this is one long overdue for a CD reissue!!!

I'd rather expect he lays a friendly hand on your shoulder and gives some pointers ...

I hope that Eddy Louis is one of the 5, nobody seems to mention him. I said "top five" without really thinking about it ... Don Patterson, Melvin Rhyne, Larry Young are definite choices. Maybe I should have said top three. I also dig Rhoda Scott, Larry Goldings, Sam Yahel, Jeff Palmer, the newer Lonnie Smith sides, the early Groove Holmes Pacific Jazz sides ... some Charles Earland, well, some of all of them, but the three are my heroes. I dig Eddy Louiss, have all of his trios with Kenny Clarke and the ones with Jean-Luc Ponty - where else do we get an organ trio with violin! these are great!" But his later stuff with synths leaves me cold.

The many faces of Jimmy Smith (the Powell and Monk similarities are great) .... very nice gallery, thanks y'all!

Pat Martino joined the Blue Note artist roster three or so years ago. Please complete/correct the following list of artist currently with the label: Pat Martino Terence Blanchard Wynton Marsalis Greg Osby Jason Moran Norah Jones Van Morrisson Stefon Harris Jacky Terrasson Cassandra Wilson Chucho Valdes Jane Bunnett Ron Carter ... a similar shift towards singers and modern mainstream to that of Verve, I'm afraid ...

Not to offend you personally, DrJ, but sometimes I think the Blue Note myth catches up on us and we simply expect a little too much. We tend to forget that not all Blue Note sessions yielded ***** albums - Sonny Red, or John Jenkins or whoever was a young cat cutting his teeth when the album was made and thankful for the opportunity. I know this is close to blasphemy for most of you, but I find Sonny Red's tone much more listenable than Jackie Mac .....

Now that is one I go back to quite often with joy and pride that I was clever enough to buy a Japanese LP when it was freshly reissued. I like Boland's rhythmic writing on this one very very much! If you wanna get rid of it, drop me a PM, please!

Actually this is two LPs: VGM 0001 Live At Jorgies Volume One 1. All Of You 12:54 2. Heartstrings 6:05 3. Summertime 7:30 4. Back To Bach To Bock 14:03 (that's how they spell it on the cover ....) VGM 0008 Live At Jorgies Volume Two 1. (Stella By) Starlight 11:32 2. 'Round Midnight (incomplete) 3:32 all recorded on August 19, 1961 Wes Montgomery, guitar Buddy Montgomery, vibes or piano Monk Montgomery, basses Billy Hart, drums Sound is mono but very good for an amateur live recording, the mood is similar to the Half Note live recordings or the European live bootlegs from 1965. Billy Hart was very young then and plays it very straight, but the brothers are all in fine form - I wouldn't miss it. If I remember correctly there was a CD with all six tracks. 'Round Midnight is incomplete because the tape ran out, but the break before the solos is absolutely gorgeous! Volume Two also includes two radio interviews (15 and 25 minutes) from 1966 and 1968 obviously taped with a cheap cassette machine with automatic level control, plenty of tape hiss but rare - perhaps you remembered that sound ..... Considering there are too few live recordings of Wes, and that he played fantastic on all of them, I'd easily prefer these over any of the Verve or A&M studio dates.

Well, it may have made Monk sick, in the long run.

Oh you lucky people. At least you got them. My local dealer couldn't tell when EMI Germany will release them, perhaps by the end of the week ....

That's what I felt after listening through the Mosaic. Especially the last previously unissued session is strange - this has been discussed before. I miss some some harmonic/melodic focus in Redd's playing, it sounds all dissonant to me. I keep it for Tina Brooks, in the first place, and his compostions.

That's how I felt in the 1980's when most of his Blue Notes appeared on CD for the first time, it was my first chance to hear this music, as Shorter's music was practically unavailable in Germany, except for Super Nova, Odyssey of Iska, and Moto Grosso Feio - I had LPs of these. But his earlier Blue Notes were all out of print, surprisingly, as UA in Germany had a generous selection of Blue Notes in print. All young jazz musicians and collectors here seemed to grab every Shorter LP as soon as it showed up on a flee market or in second hand shops. The All Seeing Eye was all I could find in 15 years! I marvelled at the versatility and high level of composition AND improvisation on Adam's Apple. El Gaucho with its "additional" two bars in the form fools me every time I listen to it! I guess it was JUST BECAUSE he knew Coltrane's style and ideas so well - they reportedly practiced together - he HAD to do it a different way. You don't want to imitate a great concept if you're a great player yourself. Perhaps he didn't like the pitfalls along Coltrane's musical way. JSngry is right, it is very melodic, thematic variations all over the place, especially in the El Gaucho solo, very close to the theme. I wish some players would take that to their heart instead of running scales and changes!

Maybe the decision to change the font in your posts helped ..... ... or your player sympathizes with all the poor record collecting souls.