DMP

Has this been discussed? Releasing next month, apparently as part of one of those Record Store Day promotions. Amazon has the 2 CD set for $60! (And there’s also a 4 LP version.)

Sounds better then I remember! Used to get a lot of play on the local AM radio, back when you’d hear Ed Ames then Jimmy Smith.

Now you tell me!

And what’s the story with Concord? How did they become a factor? A car dealer starts a label to apparently record music of a certain style, and now they’re all over the place.

Articles about Universal and Vivendi have my head spinning! Are we down to 2 (or 3) companies owning all the labels? I was able to follow this for awhile (the first deal I remember was that insurance company buying Liberty, which had absorbed Blue Note and Pacific Jazz; and, decades later, Columbia and RCA becoming one, easy enough to follow; and Polygram and Fantasy absorbing a lot of labels) , but I’ve lost track. Anyone take a crack at explaining where we stand?

He’s on Herbie Mann’s ‘Muscle Shoals Nitty Gritty.’ (The album’s a lot better than the title.)

On TCM, as I type... “A jazz pianist is haunted by his dead ex-lover’s crawling hand and floating head.” An out-of-tune piano is the least of this guy’s worries.

I think I once read that the first time the words “bossa nova” appeared on an American record was on Sonny Rollins LP - “What’s New” - hardly a bossa nova record, it’s all over the place, although a couple of the tracks with Jim Hall have sort of a bn-type beat. (“If Ever I Would Leave You” was recorded only a couple months after “Jazz Samba,” probably before anyone ever heard it.) Whatever, don’t think Sonny’s name comes up much in any bossa nova discussion, and whatever flirtation he may have had with it, he quickly moved on.

Did you include ‘Gichi,’ the opening cut on Booker Ervin’s “Tex Book Tenor” (one of those Blue Note sessions that wasn”t released at the time of the recording)? And, in that vein, Jackie McLean, ‘The Bull Frog’ (also not released at the time)?

Doesn’t stand out... The 2 most active clubs here in Pittsburgh at the time (Crawford Grill and Hurricane Bar) had small stands that were high off the ground - you were always looking up! You didn’t have the kind of view or sight line pictured here. Think about it, though - in many cities you could walk into a neighborhood spot and come across a scene like in your picture!

Again, I would point to that Amazon review of “Iron City, under the heading of ‘The Real Story’ - seems like it might actually be the real story! (Although it doesn’t clear up the name of the organist...mjzee’s post above makes the persuasive case for Patton.)

That Tower down on lower Broadway was the kind of place I had in mind. Your description is on the money. Back then I could have never imagined that it would come to an end!

Doubt anyone recorded it, wasn’t that kind of scene - the Hurricane was really just a neighborhood spot. (A neighborhood spot where you could regularly catch Jack McDuff, Stanley Turrentine, Pat Martino and Lou Donaldson!) Can’t remember the drummer - could have been Roger Humphries - he was around town then - but probably not. As for the organist on “Iron City” - hard to tell, he (or she) pretty much works within the standard organ vocabulary of that time. Green worked with both Young and Patton in ‘65, Patton after that.

1967. Two things stand out: They opened up with “The Yodel,” played at about half the tempo of the version on “Got a Good Thing Going.” And, at the break, someone put on Wes Montgomery’s “Day in the Life,” and when Green and Patton returned to the stand they were trying to work out an arrangement. (Green did eventually record it.)

I miss the days when you could drop by a record store and the knowledgeable staff could help you find a particular piece. Does such a thing even exist today? Are we relegated Amazon, which has an impressive inventory but little direction?

They make it look easy!

Dizzy plays some chords behind Charlie Parker, Miles does the same behind Sonny Rollins on an early Prestige recording... Are there other examples of them playing piano? Anything more substantial? (Miles spent a lot of time standing behind a keyboard later in his career, and there’s that example of him showing Wayne Shorter something he was working on in his apartment around ‘67, but, off the top of my head, that’s all I can come up with.j

Regarding “Cool Sax, Warm Hart” - I used to catch Sid McCoy’s late night show from WCFL (“the voice of labor in Chicago”) - the signal made it to western Pennsylvania - and he regularly played “Hip Hoppin’” from the album. One night he commented, with a chuckle (or was it sarcasm?) in his voice - “Warm hearted Eddie”. I’ll bet Sid had a lot of good stories!

What’s the story with the ‘64 live in Philly Horace Silver? There’s not much from that Silver edition beyond the 4 tracks on “Song for my Father” and a couple of radio broadcasts in okay sound rehashing the same material.

“Six Million Dollar Man?” There’s the theme with Groove Holmes, arranged by Nelson, and what sounds like an army of percussionists (although it’s probably only a couple) who really work up a head of steam. The highlight of a so-so album.

The Mosaic set just arrived, so I now have all the albums where Paul Desmond was the leader. (And probably almost all the Brubeck albums where he appears. Someday I may actually play them.)

The only time I him was at Carnegie Hall, summer of ‘74. It was Al Di Meola’s first appearance with Return To Forever - apparently he was just brought in - Corea announced that their previous guitarist was suddenly called away. (I swear he said it was Earl Klugh.) However... I did see his electric piano once, on the stage of the old Civic Arena in Pittsburgh... the equipment for the Miles Davis group was all set up, but Miles was a no-show.

I want to agree with soulpope on the Pepper Vanguard sessions - Elvin Jones, a wonderful drummer, seems to dominate, to the detriment of the music. I was at the earlier Gumbs-Perla-LaBarbara appearance, and I always thought that has been unfairly passed over - it was a strong AND sympathetic group, Gumbs, in particular, was a revelation (apparently a last minute sub for Jacki Byard) and Pepper seemed to be knocked out by them... For me, one of the most memorable evenings in a lifetime of listening.

Among others, I have just about everything issued by/with Grant Green. (Missing that Dodo Greene album - what’s that like? - and a couple tracks from “Final Comedown.)

Cannonball made a couple with strings - early in his career, then later, for Capitol.