Late

Yes, agreed—I wasn't thinking along those lines. The term should probably be capitalized as a phenomena unto itself: The Walter Dyett Factor. (Sounds like an early 60's cold war film.) Dyett on Wikipedia. Check that list of who studied with him—wow. Besides tenor players, the list of bassists is also impressive.

Prestige-era Jackie on this one. Weinstock (if it was actually his choosing) seemed to like to pair Ammons with McLean. Tangential history lesson time: WD-40 was invented in 1953. The letters stand for "Water Displacement." The number stands for how many times chemists experimented with certain compounds before landing on a recipe that achieved anti-rust qualities. The lubricant and anti-squeak properties were pleasant side effects. Why didn't Art Taylor's loved-ones tell him about his bass drum pedal? Was Arthur too sensitive to receive constructive criticism? If only he'd been gifted a spraycan of the 3 year-old wonder product—so many "hi fi jam sessions" would have benefited. Surely Bob Weinstock, an aerospace enthusiast in his teen years, kept a can in his desk.

Who does Ammons come out of? Or, to put it another way, who would you point to as Ammons' influence(s)? I'm not exactly hearing anything springing from the Young/Hawkins binary.

That is a tasty Golson solo indeed... I think you're right. I tend to forget Byas as an influence. Byas comes out of Hawk, but Byas also has a sort of slipperiness that Hawkins didn't. I wish Golson had been encouraged more as a soloist. His writing and arranging, and only because they were excellent, seem to take priority in his stature as a musician.

From the 50's and 60's—what would you all point to as a particularly memorable Golson solo? I think his most memorable solos from this period can be found on Moanin'. Outside of that album, what Golson solos do you recall easily, or that make/made an impression? It seems to me that the Coleman Hawkins-Benny Golson connection goes under-remarked.

Attached is a Word document (.docx) with a list of all (I think) the Limited Edition OJCs. Corrections welcome. Limited Edition OJCs.docx

Yes, but all the gaps were remedied by:

I think so? But he was standing next to Dexter Gordon (6' 5") when friends came up with the nickname. 🙃

5' 3". I guess I never really think about how tall jazz musicians are—I would've guessed Johnny Griffin if the question was: Which jazz tenor saxophonist was 5' 3"?

Dig Barron's solos on this one: Philly Joe Jones • Showcase Bill's not even listed on the cover.

Triple Threat @ The Super Bowl Halftime Show

What a fantastic video, and what an honor. I look forward to the quarter!

Make sure to plant your onions, sage, radish, dill, and trumpets. It's going to be a Blue Spring. Cover art by Gilbert John Mellé.

Listening to this again. It's just as good as the Columbia sides. van Kriedt is solid.

1967 McPherson: Live At The Five Spot 👌

Another heckyeah...

Also a good title. And nice cover art for a reissue.

This album was mistitled. It should have been called Scorchin'. Arnett Cobb does not blow. He scorches. Not to mention that Lock was a flamethrower too. This album has more heat than your customary free jazz blowout. The whole proceeding is served well done—no oven needed. 🌋

This has been on YouTube for over 10 years now, and I stumbled upon it just today. Is it really from 1983? Hartman died in September of 1983.

I had these very questions this morning while listening to Lorez Alexandria The Great on Impulse! Her pitch is flawless. A fair amount of Sarah, a dash of Carmen, a pinch of Dinah, and likely others in the mix that I can't hear. I wonder who got her on Impulse. Just found this quote online regarding Alexandria's second and third recordings for King: “In 1959, she recorded two more albums for King, but the label, instead of hiring an arranger and musicians for the sessions, used pre-recorded instrumental backgrounds for Lorez to overdub her voice. She did a wonderful job interacting with them, in some of the finest work by this much forgotten jazz legend. It is no wonder that throughout her career, some eminent jazz critics compared her with Dinah Washington, Sarah Vaughan or Carmen McRae.”

Lem's Beat Some fine Oliver Nelson here. Curtis Peagler reminds me of Clarence Sharpe. I wonder if Milt Jackson ever heard Winchester, and, if so, what his impressions were.

Pepper Adams lives.

I don't really buy vinyl anymore, but this is one occasion where I'm happy to do so. Will patiently wait for this reissue. 😅

I just discovered the excellent YouTube page of Charles Iselin, who puts together videos of (mostly) complete solographies, making sure to credit original compilers (such as Phil Schaap). Check out the The Complete Solos of Elmer Williams, tenor player for Chick Webb, Noble Sissle, and Fletcher Henderson, among others: Valuable work, and what a nice gift to the public.