Shrdlu

The difference is that Dex was Carbon Neutral and Sonny was not.

Trane and Miles with Art Blakey. When did that occur? At some jazz festival?

I had not played any vinyl for years, but I dug out a Savoy LP by Pepper Adams called "Pure Pepper". It is a reissue of "The Cool Sounds Of Pepper Adams", but with an alternate take of one track added to the original four long tracks. The alternate take has never appeared on a CD. With Pepper are Bernard McKinney (euphonium), Hank Jones, George Duvivier and Elvin. It's a very tasty session. Euphonium might bring to mind oompah, but it's like a smooth version of a valve trombone, so nothing to be scared of. That was followed by another Savoy LP: "Blues-Ette, Volume 2“, by Curtis Fuller. It mirrors the original LP by having an alternate take of all six pieces. Only three of these have appeared on CD. This LP is well hidden on Discogs. There is another Fuller LP consisting entirely of alternate takes, none of which has appeared on a CD. I plan to get that soon. Curtis was an excellent player, and the lineups on those sessions are first-rate. A Mosaic set of 1950s Savoy sessions would be great, and Michael Cuscuna agreed when I mentioned it to him several years ago. I don't think it will ever happen, though. Finally, on vinyl, the James Johnson solos in a Mosaic set with several other people. The origin of Fats Waller.

I just listened to that video. Quite pleasant, but the music isn't house music. House has an even, steady beat - a grid, if you will. Where I used to go to listen to house, the people were very social, and we used to talk a lot. It was a very pleasant atmosphere, and I miss it. House seems to have disappeared, even though it was not stale.

Thanks, guys, for bringing this up. That video is amazing. I never knew that it existed. Too bad that America has hadly ever filmed its great jazzmen. Bean was an amazing musician, never stuck in one genre. Someone once remarked that he never peaked. He had amazing technique, but didn't play flashy just for effect. Awhile back, I came across a video of him warming up (in about 1960, I think), and his technique was amazing. I just obtained the fairly recent Mosaic set of his recordings, going back to the 20s. The first items are horrible, and he once said that he was not happy with them. They give little hint of what he later did. Yes, one of the first boppers (I hate that term, but it has stuck).

That Max picture is yet another picture of the wonderful Neumann U-47 mike. I see it all over the place. As most of you know, Rudy van Gelder had about the third one imported into the United States. He had it modified, so that musicians could play right next to it without distortion. This gave much improved sound, compared with that horrible RCA mike with the flat faces at about a 200 degree angle. Miles stuck his harmon mute right into it.

House tracks hardly ever have just the one mix. Frequently, a composer brings out a track and other composers make remixes of it, usually quite different. That is part of the fun of this fertile genre of music. Here is an excellent example. Here is the "original mix" https://www.youtube.com/watch?v=1exlM0EF2_Q High drama there, but little movement. I love the chord voicings on it. Now here is a remix by the amazing "Jimpster" (Jamie Odell, from Essex, England) https://www.youtube.com/watch?v=t213Qm8wdZk (Bear in mind that these tracks are designed for DJ mixing, and begin with a fairly plain section that is never heard over the club's loudspeakers.) Jimpster is world-famous and his mixes are always the best for a piece. I was listening to Weather Report's "River People", and it struck me that Jamie could do an excellent house version of it. I told him about it, and he knew the piece. He is very busy, but if he does it, I will play a soprano saxophone line on top of it. These house tracks are modal, and improvising over them is a piece of cake. Only one take needed. River People https://www.youtube.com/watch?v=2DuePlxXfAM

Good to see this twice bumped. This genre of jazz is always great to hear, especially when contrasted with a lot of harsh honking and screeching in 1960s "avant garde" stuff. I was delighted to be able to grab the Buck Clayton Jam Session set in its last minutes. Whom did you see live/meet? I met Buck Clayton, Eddie Condon, Bud Freeman and Cat Anderson. I saw, live, all of them, plus Pee Wee Russell, Louis Armstrong's classic 1956 All Stars, the 1969 Ellington lineup and Teddy Wilson. Teddy came to Jo' burg in about 1974, when I was living there; he played with a local bassist and drummer.

In the 60s, i ordered a lot of Prestige LPs straight from the company in New Jersey. They were a bit dodgy, and the German counterparts (where available) were the way to go.

When I was a university student, the university was downtown and I used to hang out a lot at a jazz record store. One day, my friend there said, "Hey, you gotta hear this!". It was "Sunday Walk". It's a sensational album - very high energy. The record store guy was raving about it. We had never heard of Jean-Luc before. It also has the sensational Niels-Henning Ørsted Pedersen on bass. Man, I haven't been in a record store in twenty years. I used to enjoy them a lot. Jean-Luc is also on the 1967 "Violin Summit", along with Stephane Grappelly, Stuff Smith and Svend Asmussen. That is a very tasty album. Niels-Henning Ørsted Pedersen is again on bass, and is loud in the mix, and he steals the show.

This stuff about Ron McMaster's CDs has dragged on since the 90s, and most posters who have been around awhile are probably sick of it. There will never be all-round agreement. If some are happy with Ron's CDs, then fine. If some are happy with the U.S. RVG series, then fine, too. My own position is that, right from the late 80s, the CDs from other companies (that is, not Blue Note/Capitol) were good and the McMasters were, for the most part, lousy, though some are good. I have resentment toward McMaster because it has cost me a lot of money to upgrade to Japanese versions. For me, the definitive Blue Note CDs are the "Blue Note Works" ones. Of course, these never have the alternate takes or previously unissued tracks. I like most of the U.S. RVG CDs. The small number of Japanese RVG CDs that I have are fine, and I love the tiny LP jacket style, though you need a magnifying glass to read the notes. The Japanese Blue Note CDs from about 2013 are almost invariably good, and contain a lot of previously unissued tracks. I have pretty much upgraded all of the McMaster disks by now, and it is good that all that is over. It puzzles me that Japanese CD reissues are way better than U.S. ones. If I had been mastering CDs in the States, I would have found out what equipment the Japanese were using, and got it myself. Why didn't they do that? It can't be hard. I have transferred some LPs to CD at home, and the CDs sound great. McMaster had no excuse for producing bad CDs. But, no ill feeling to Ron, or to other posters here. There are far more important things in life than a few CDs.

I'm still going through the (original) Perry Masons (1957-1965). I'm up to Season 8 (of 9) now. These have held up well. The regular actors are all excellent and there are many familiar faces amongst the guest stars. Babara Hale, as Mason's secretary, Della Street, is lovely. The scripts are formulaic at times, but real life is formulaic, and court procedure follows standard procedure. A lot of jazz (e.g. Red Garland) is formulaic, but that is not a fault.

Arthur was great. And that interview, mentioned above, is excellent. He was fine on the Trane Prestige sessions (and most with the Red Garland trio), but one reason why Philly Joe wasn't on them was that he and Prestige's Bob Weinstock didn't get on. Apart from the Miles sessions, Philly Joe isn't on many Prestige sessions. Orrin Keepnews and Alfred Lion liked to use him.

Wow, eine 20-jährige Katze! Ich hatte ein Freund in der Oberschule, deren Mutter Deutsche war. An der Universität hatten wir einen Dozenten aus der Tschechoslowakei, dessen Englisch schlecht war. Er verwirrte die Klasse, indem er Schrift deutsche Buchstaben verwendete. Ich ging zur Mutter meines Freundes um Hilfe. Ich habe hauptsächlich zu Hause Deutsch gelernt. Ich bin in Deutschland, Österreich und der Schweiz gewesen. And, after these messages, back to English, already in progress.

That box set arrived here today. I got it real cheap on eee bay, I guess because the case was cracked. (I have lots of jewel case spare parts here.) It's a 4-CD set, and I don't know whether it is "pirate" in any sense. So far, I just played the last session on it, "My Main Man", from 1964, with Sonny Stitt. The session is fabulous. Dan mentioned a joyful vibe: the vibe is extra joyful and bright here. They were enjoying themselves, and there is a photo of Bennie and Sonny hugging each other, The sound quality is first-rate, I'm delighted to relate. That is definitely an inexpensive entry into the Green world. For some reason, I had never heard him until a few weeks ago. Nobody had ever told me about him. I hear some Trummy Young in his sound, which can't be bad.

Der Schäferhund war sehr schön. Ich habe vier Schäferhunde gehat.

I like "Kommissar Rex", set in Wien in Österreich.

I sure did like Hank Mancini's music for "Peter Gunn", and the first of the two LPs is a favorite of mine. I have thought a lot about Mike Post and Pete Carpenter's music for many TV series. It is a brand, and templates were created, so that others could write individual scores within the style. At its worst, it is cliché-ridden: the daa, daa, dat-da-daa phrase etc. But I am very fond of Hunter, and I've seen all of them. I began to appreciate their soundtracks. Once you get away from the main theme, there are some nice passages, with an oboe etc. Only a small group was used. They appeared on camera in one episode, which was about a girl singer recording in a studio. So, I respect that duo and try to listen past the clichéd bits. In any case, I always mute or skip over the opening credits, because I am tired of them.

That was an excellent series. There are lots of them on a certain Tube. Dorothy Kilgallen was murdered, sadly. There is an episode recorded on the day of her death, as evidence that the standard story is a lie. She knew too much. But let's enjoy the program.

There is a box set with many of Bennie's albums here https://www.discogs.com/release/12304661-Bennie-Green-The-Complete-Albums-Collection-Eight-Original-LPs-1958-1964 I don't know what the sound quality is like, but it's a cheap way to check out a lot of his work. I just got the two albums that Chuck listed, and they are very enjoyable. As Dan said, they convey a lot of joy. The Time album not only has Sonny Clark on it, but also has three of Sonny's compositions. (Of course, there is a Time Sonny album.) It is a change to hear the guys without any session producer's influence. That is not a dig at Alfred Lion, by the way. I must admit that I prefer Sonny's sound as recorded by Rudy - that sound can be addictive. Rudy got that with one of those Neumann U-47 mikes, which are seen in many Hackensack photos. One of those photos shows that mike inside the piano. However, the notes on the Green album say that the Time engineer also used Neumanns, so the choice of mike is not the whole story.

I dutifully bought all this stuff in the 60s, and later, on CDs. We were told that jazz must progress, progress, progress. But really, to me now, the last two years of Trane, some of it with Pharaoh Sanders, is just a damn noise, fueled by drugs. And the group with Alice and that new drummer is beatless and, at best, boring. Give me Trane with Red Garland. That is amazingly beautiful. And Side 1 of "Live At The Village Vanguard", and the Impulse stuff up to "Crescent". After that, bye bye. I am not intimidated any more.

Bird was the greatest innovator and improviser in all of jazz.

Fine album. I have had it for years. Pepper is one of the few baritone saxophone players whose playing I like. How could one not enjoy his work. Brilliant player, and highly intelligent man. I just listened again to his 1968 interview in Toronto by Ted O'Reilly. (There is a Pepper website with lots of audio interviews.) Pepper played a Selmer Super Action baritone, without the horrible low A junk. Check out "The Cool Sound Of Pepper Adams", with Bernard McKinney, Hank Jones, George Duvivier and Elvin Jones. I have an LP of that with a fine alternate take.

"Soul Stirrin' " is a real groove, and "The 45 Session" (one of those Blue Note Works 1600 series CDs) is also excellent.

Those standards were well-known. I have known them for ages. Nice picks.