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Sidney Bechet's book (Treat it Gentle) provided a lot of insight --or feeling--of early New Orleans. (at least for me).

I really love Edmond Hall's playing on this set. And Bobby Hackett on one of the sessions--Hackett has such a beautiful tone, a real contrast effect with Wild Bill. When you're ready for some more Chicago Jazz check out the Bud Freeman Mosaic single if you don't have it yet.

Haven't read this yet, perhaps this summer. An interview with the author here: ThomasBrothers

up..this nice warm spring weather has me thinking of miss cott and those groovy sounds

I came across this quote in a recent FD article in the VV. All the growth in jazz is in composition and context rather than in the language of improvisation. Not sure what to make of this strand of thinking, which I seem to have come across before. Are players in the hard bop idiom like Eric Alexander just picking over the bones of the past? Can you be inventive in the hard bop idiom but not innovative? Is that good enough? The most innovative jazz is stuff like Uri Caine and Bill Frisell? fd on uricaine Coltrane took jazz harmony as far as it could go, and everything since has been a refinement of his methods or a reversion to Charlie Parker's. But that's only if we're talking about improvised solos, which is where we've been taught to listen for breakthroughs. What's been expanding over the last several decades, beginning with the Association for the Advancement of Creative Musicians' emphasis on collective interplay in Coltrane's wake and continuing with the reemergence of composition as a vital force near the tail end of the loft era, hasn't been the language of improvisation but the context surrounding it. So much so that in the case of eclectics like Uri Caine, Don Byron, and Bill Frisell—who all feel free to incorporate whatever strikes their fancy from the pop and longhair music they listened to between Blue Note LPs while growing up in the '60s and '70s—a good way to recognize today's most innovative jazz is hearing complaints that it isn't jazz at all

Mobley, Disc 4. Coincidentally the session on this disc with Byrd, Ware etc. was recorded 50 years ago almost to the day (April 21, 1957)

That one's a gem. I too found it brand new, within the past two years. See elsewhere in this thread for info on the hidden track. Hidden track! Hard to imagine there was a time, not too long ago, when Verve issued cool material and even did it with a sense of humor

I just picked up Billy Bauer's Plectrist from, of all places, walmart.com, shrinkwrapped and new at list price. Can't wait to listen to it this evening. I just checked before posting and it's still listed as being in stock if anyone is looking for a copy.

The title of this thread sent chills through me. His music moves me, and teaches me, and has the transcendent qualities that characterize the deepest arts. Thank you for these gifts.

Again, have you actually tried the mp3s from emusic? No, they aren't lossless, but they're pretty darn good and you probably can't hear the difference on most systems (or, at least, in your car while driving). No, I haven't downloaded from emusic. I have stuff in itunes, in the mp 3 format, it sometimes sounds different to me, though I admit I might not be able to tell the difference in a blindfold test. When I said 'presentation' I was referring to the whole product--audio quality but also the durability of the cd-r and the peripherals like liners and pictures. Maybe this is goofy, but just knowing that something has been lost in the downloading process is enough to irritate me even though, if pressed, I might not be able to detect the loss on most systems.

I see the downloading option as equivalent to a paperback--it's functional. But some classics merit a higher quality medium of presentation...hardbound, archival quality paper, and so forth. The OJCs, by and large, merit a bettter treatment than perpetual banishment to the ephemeral world of mp3s. There's nothing old fashioned in this sentiment. I'm not wedded to the CD format--- If the mp3 route improved the quality of the presentation of the music, I'd be for it. It doesn't and so I mostly ignore it.

Junior's Cookin' = I like this one with Horace Silver as well. I agree, Junior really shines on the Village Gate recording.

I'm open to a wide range of approaches. What piqued my interest was a friend of mine who was speaking very highly of Ari Brown and Corey Wilkes. I'm embarrassed to admit I hadn't heard of either, so I looked up some info and found they've both been recorded by Delmark. That made me wonder what else I've missed on this label. Thank you to all for the recs.

I've lived in Illinois for a number of years so this label is kind of in my backyard. Yet, I'm really not too familiar with the Chicago jazz scene. I'd be interested in hearing people's favorites from this label. I think the only thing I have from Delmark is a George Lewis (New Orleans George) session, I'm interested in branching out some.

No Kenny Garrett. But Christian McBride. I'm wondering how to go about ordering it. It doesn't seem to be available anywhere except through tain's webpage, which only takes paypal. Funny how the music business has changed, just a few years ago 'tain watts was recording for Columbia. Now it's all homemade tainsellscdsonmyspace Tain will be doing email blasts and advertising the new album on his website and MySpace page, and may sell by download on his site. Here's the kicker. Tain only needs to sell 1,200 full albums at $12 a download (or 1,500 at $9.99) to recoup his production costs. Additional sales represent pure profit.

Tad Hershorn has been working on a book about Norman Granz and Verve...it has been listed at Amazon as forthcoming for about two years now I'm not sure when it will actually be published. The book 'West Coast Jazz' by Gioia, though not specifcally about a label, focuses a lot on Pacific and Contemporary--it's a highly enjoyable read.

I picked up 'Guitar Groove' from Newbury Comics recently...very nice session! Tootie Heath really kicks things up a notch, very swinging. This CD, unfortunately, seems to be the victim of Concord's senseless reissue policy (i.e. going oop), so heads up if you haven't gotten it yet. There still appear to be some copies left from Newbury at the amazon site.

The band on this is pretty much the same lineup found on the Live at the Blue Note Cd released a couple of years ago. That was a really enjoyable release--tons of of energy and some really nice writing too. I'll be picking this one up, if I can find it. It's not listed at amazon, nor is it listed at CD Baby.

Mr Pee Wee Russell. Thanks, I completely overlooked the Pee Wee and Monk meeting. Elder Don, regarding post-32 Red > post 32 Pops.... I just went back and listened to the Red plays King Oliver session from Verve and I'm struck by how different Red and Pops were in the 50s, despite their similar early backgrounds. Are they even comparable? Red's at home in a lower register, where his phrasing and tonal surprises are so fun and interesting. Pops' approach is operatic and powerful, upper register purity, and of course all the rhythmic genius. fwiw, probably nothing, but it's hard for me to imagine Red and Ella doing an album together in the 50s.

The cover is reproduced (in miniature) in the booklet of the Verve 2-fer called "Swing Trumpet Kings". Don't know another source at the moment. I think it would have been fun to hear Red playing with Monk. I'm not able to figure out how to post the picture here, but it can be found at this link: redallenplayskingoliver

I don't doubt that Red and Monk would have been wonderful, but I'm having a hard time getting my head wrapped around it. Other than Hawk did Monk record much with players who started in the 20s? I love the way Red slurs and blurs and just generally surprises from bar to bar, all in a completely authentic, organic way. It pains me to hear some contemporary trumpet players try and do those slurs, it just sounds childish. Red was all about the troof. I'd love to hear that Columbia lp, btw--maybe MC could combine that with the RCA session which, sadly, is long oop.

I was working at my computer recently when something on the radio really caught my attention...enough that I got up to take a look at what was playing (it's a satellite setup so the display gives the information). Anyway, it was something from this CD and it really stood out as something a cut above. That was a few weeks ago, thanks for reminding me I need to hunt down this CD.

If you're getting more into jazz guitar, have you checked out Kenny Burrell? I love him. Yes, but not enough, I'm embarrassed to say I don't even have Burrell's BN CD with Turrentine though I always see it listed as desert island material. I just ordered some single CDs with Rene Thomas and another with Billy Bauer. I'm going to spring for the Farlow in a couple of weeks, I'm waiting for a nice 250 bonus check to make its way through the system and to my mailbox. My bonus check is Mosaic's gain In fact, I probably should have just had it made out to MC.

Wow, this slipped away quietly. There's a beautiful 2 part song on this CD--a tribute to Lester Young. Plus, some mighty fine Ray Nance violin on 'Driftwood'. As an added bonus the sound on this CD is very nice. Concord seems to be somewhat silently letting things go oop, not even a heads up. Chuck was prophetic when he insisted a couple of years ago that Concord would never keep their catalog in the same shape as Fantasy. Too true.

Russell, George : Ezz-thetics Bailey, Dave : One Foot In The Gutter Davis, Miles : Filles De Kilimanjaro Niehaus, Lennie : Quintets