cannonball-addict

It's either Tjader or Tito Puente. Tito played quite a bit of vibes as well as timbales.

Hate to quote myself but I already identified the Sidewinder track a long time ago.

Joyeux Anniversaire! Happy Birthday! Yom Huledet Sameach!

I just heard it in the music library at my school's radio station. It was mistakedly in the R section. The recording quality is SUPERB. And the interaction between the sidemen and the leader is like ESP. It's wacky. This alto player will never achieve notoreity though unless he changes his name. Miroslav Vitous is one thing, but Rudresh Mahanthappa is an entirely different story. Or he could form a band with Iyer that would have some catchy name like OUI (Out of India). But then again we Americans would have a hard time with that one. Name issues aside, this record KILLS

That’s my man Jimmy Cobb on that?!?!? Oh yes, I GOTS to get this one!!!! Buy directly from the leader - I got it from him: service was fast and reliable, and he has the most of it. I'll second that recommendation. I've bought from him a couple of times. Seems like a very nice cat (look who he worked for early in his career, BTW... he did a beautiful tribute recording a few years ago). I saw Campbell at the Smithsonian with the Jazz Masterworks Orchestra doing all transcriptions of Benny Carter tunes. He was great! I reviewed a tribute he did for Charlie Byrd with Gene Bertoncini and others on AAJ.

track 4 - doesn't really catch my interest. seems like your generic latin groove. I am almost certain that this is NOT Ronnie Cuber - though it has great soul. I think it's got to be a little older. Maybe Sahib Shihab. Although there aren't too many quality baritone players out there of note - and it sounds nothing like Smulyan, Brignola, or Howard Johnson or the dude who played in the SNL band for recent years. Is it this new cat Chris Karlic? As far as the organ goes, it could be Larry Young, Charles Earland or Don Patterson (or some European cat who we've never heard of). The quote of Cubano Chant in the organ solo. But overall, this track was too monotonous (doesn't go anywhere) and the open intervals during the head got on my nerves - but this is simply a matter of personal taste. track 5 - I like this a lot. The drummer is getting in the way too much. That suggests that it might be the drummer's date. The head is simple but the harmony works nicely with twin tenors. I liked the tradition I heard in the first tenor solo - I like the fast runs. The other guy is obviously trying to be one of those totally original shape-oriented guys like Wayne Shorter and Joe Henderson. Pretty sure its neither of these guys. Excellent bass solo. The trading fours between the saxophones should offer insights into who they are but I HAFC. track 6- very beautiful voicings. I am liking solo piano more and more. And by the way, this is NOT Chelsea Bridge. Correct composer, wrong song. It's Lush Life by Strayhorn -which now seems like its on its third BFT. I would guess somebody like Bill Evans Fred Hersch or Bill Mays or even Jacky Terrason - hard to say when this was recorded. But there are just too many cats who have done this - to know who it is. I love the way he/she/whoever brings it back to the head towards the end. track 7 - this female vocalist is trying to sound like al jarreau or flora purim while also sounding mainstream like carmen lundy or rene marie. I am sure this is recent. I did her solo ideas and he syllables. But she is flat too often. Her ideas are hip but it just doesn't click - she's pushing it instead of letting it happen. Bassist has great time and feel. Kudos for doing Paper Moon with a Latin feel - don't think I've heard it this way before. track 8 - yeah. reminds me of vintage Pat Martino or Jimmy Ponder. Could be much newer - like Paul Bollenback on guitar or Steve Kirby or Peter Bernstein. The organist is good but not special. If its newer it's definately not Joey D - could be Greg Hatza. gotta love this music. It has to be mentioned that what the organist does from 3:13 - 3:16 (this is while they are trading fours) - is super hip harmonically. JSngry probably knows what he's doing but it's just incredible that this guy thought to do that in the spur of the moment like he did. (After a few listens I'm almost positive that this is Martino).

Wow. This lineup is sick. Has anyone heard Escoffery? There is a funny review of his Nagel Heyer CD on AAJ. I don't feel like finding the link right now - but he is good. Good enough to have been a Monk Institute "scholar" at their jazz college thing taught by Herbie Hancock and Terrence Blanchard in LA among others. Jaleel Shaw - Placed very close to the top in the Monk competition in 1996 (I think tied for fourth). He is talented. Craig Handy - I love his playing. My current sax teacher sat next to him in the One O'Clock band at North Texas in the 80s and he said Craig was the exception to the rule there - he was one of very few non-Brecker heads but he also said in addition to the fact that he played with a heck of a lot more soul than a lot of the cats there - he was an impeccable reader - which is something UNT looks for in applicants and then refines with their big band program. The only time I ever saw Handy live was in DC in a band being led by Jeff 'Tain' Watts. I wish he got on the road more often - I had the impression that he was living on the West Coast - not in NY, but if he is in MBB then that would infer that he is living in NY. Cuber - NICE! You all should know that I am a huge Eddie Henderson fan. And I know Sipiagin's work on Criss Cross well. He plays really nicely too on Brecker's Quindectet Record - yes I bought it wondering if it deserved to beat the Vanguard Band for the Grammy for best large ensemble jazz record. I don't think so. (That Vanguard Band has to win some day. Maybe this year with the Slide Hampton record - but its not been getting enough press lately.) Lacy was in DC a few weeks before I left for school. I couldn't make it because it was storming really heavily that night. I wanted to go so bad - because he is one of those older-school guys who I've heard on records with European cats from the 70s and 80s and never had a chance to see live. Conrad Herwig - saw him at IAJE last year - was AMAZING. Dave Kikoski - bad MOFO. He plays really well on the Roy Haynes "Birds of a Feather Band." - on that note, I was looking for Roy Haynes tour dates and I managed to find them on Ted Kurland Associates page - This guy Kurland is probably the biggest jazz booking agent out there. His roster of cats he books is ridiculous but it's a great place to find out about future tour dates for all your favorite artists. www.tedkurland.com Been wanting to hear Boris Koslov for quite a while now - I keep hearing his name everywhere. Never heard of Donald Edwards. I think Mingus would be proud - although you can never tell what that maniac wanted. I have heard this story where he slammed the piano top down on a guys fingers in a fit of rage over the guy getting in the way with his comping.

I bet these "top" current cats would think we're crazy to bicker over them. The only seriously hip musician whom I know of (with national name recognition in this small jazz world of ours) who is a member of this bboard is Frank Kimbrough (fkimbrough). If there are others please let me know. I know JSngry is pretty well-reputed in Texas. Who else?

If anyone sees this post soon, tune in to WRCT 88.3 FM Pittsburgh on the web at 11 AM EST this morning: My Radio Show To listen to the mp3 stream on your computer (worldwide) see the top of the page when you get there and select either "High" or "Low" depending upon your bandwidth - it will ask where you want it to stream through (ie iTunes, realplayer or Windows Media Player). We are not a jazz station per se but my training is intended to prepare me to do a jazz show. I will be playing some good music. Focusing on clarinetists as inspired by this poll I started. I only have an hour, so I will try to get in as many as I can. I have quite a wide selection so I'll try not to let my biases control me. The station has almost every Anthony Braxton LP and CD ever released (same for Sun Ra and Cecil Taylor. Somebody here has a "free bias." Happy listening.

Just thought some people might have missed this one.

I found this dude looking for Tina Brooks.

track 1 - OH YEAH. Bring in da noise, bring in da funk. This vibes player is recorded SOOO cleanly. Can't be Bobby Hutcherson - too clean. Not Terry Gibbs - too good techniquewise. Can it be latter day Mike Mainieri (the guy from Steps Ahead). Matthias Lupri? Or that other dude who's from Europe. track 2 - I totally dig this. The backbeat on the drums is sooooo funky. this track has been played and replayed over and over and over in my computer, my iPod, my car, and my stereo since I recieved this BFT. I WILL buy this. The vocalist doesn't bother me that much although the people above have stated valid arguments concerning lack of buildup of a solo with a definite direction. It's like he was really psyched to start singing (high on life hopefully). Still he can scat better than a whole lotta cats out there. And that freakin sax solo is totally ill in its laidbackness while still being on top of the beat. I love the first few notes how he uses alternate fingerings to get different timbres out of the the same note. His chops are obviously first rate. Definately a younger guy who has checked out funk/hiphop/jam bands and the like. I just love the upbeatness to this whole song. It's so freaking happy. And oh I almost forgot, the bassist makes things COOK!!!! track 3 - I really dislike the keyboard intro to this although the bridge is pretty. The altoists sounds like Maceo Parker but it doesn't sound anything like any of the bands I've heard him with. (I have the feeling one of these is on one of those sampler CDs from the magazine JazzThing). Whenever my friend is an airport in Germany, I ask him to bring me back one of those even though I can't read much German. Their samplers are always good and always make me buy something.) More soon. Thanks Mike - this is so much to process.

Email sent.

Klezmokum? Sounds like a yiddish word for hallucinogen. You hit the nail on the head with DeFranco. I saw him about 2 years ago here in Pittsburgh with Terry Gibbs. Neither of these guys were coming up with anything. Gibbs is all showmanship - no serious hipness in his lines or phrasing. And DeFranco is "on autopilot." He plays the same goddamn half diminished lick on the 4 chord every chorus of the blues. He played the same solo about 5 times give or take a few notes and moving stuff around a little bit. Don Byron is my vote just so y'all know.

You don't mean DeFranco. You mean Eddie Daniels don't you?

Woah. Threadgill is a clarinetist? I thought he was primarily a saxophonist?

Oh yes. But I would argue that bass clarinet is a different instrument. Well, in that case, I'll vote for Artie Shaw. I was wondering if someone would mention this. Yes - he is alive. He recieved a prestigious Smithson medal from the Smithsonian Institution in our nation's capital in a swap for two of his clarinets to their massive jazz holdings collections. He says that one of them is the clarinet he played on his smash hit, "Begin the Beguine."

I did this poll with the precise aim of trying to target clarinetists on the scene today to check out. I should have thought of Sclavis. Don't know much about him nor have I heard him but if he hangs with a crowd like Dave Douglas - he's got to be worth hearing! I came upon Davern but wasn't sure he was alive. I prefer for this thread not to become a reminiscing point for talking about dead guys. Certainly I'd like to talk about them as influences but I already have countless records by Guiffre and Dodds and DeFranco and Tony Scott or at least have heard a lot of their stuff. I wish I had been able to see Guiffre. Probably one of the most underappreciated players of all time and a great composer as well, most notably of Four Brothers associated with Woody Herman whose band he wrote it for while in that historic sax section. We should have a Woody Herman thread. He was also an excellent clarinet player but now I am violating my own rule.

I dig. Respek to d'elders.

Damn JSngry you changed you avatar....I didn't realize I was dealing with you here. My bad. I don't want to sound sophomoric or pretentious but if I accept what you're saying then the only possible explanation is because of the status that he was already generating with his other albums prior to that and his work with Miles and others. I can only understand the type of wide acclaim for a record if a substantial amount of publicity was going on to boost the album's sales. Then and today, a record was and is not bound to do well unless you've got good visible publicity. I am almost certain that this record had that behind it (it was on Prestige of course) - kinda the way they boost the recent Osby and Lovano albums on BN but they're not necessarily good (a lot of the time they're not as good as people are saying they are). Unfortunately, the way magazines that spread the word over long distances and to many of the same readers (DB, JT, and Jazziz in the US) - the fact that reviews appear are based almost entirely on whether the record companies who the major artists are recording for, are contributing significantly to advertising revenue for the magazine taking on the task of assigning a writer to a certain review. Furthermore, regardless of whether or not the review is favorable, the fact that it got featured in the first few "feature reviews" or "spotlights," is the major motivating factor that leads to a purchase and the record companies/ad agencies know this. I've studied this in journalism classes - even if the story's content rips something or someone, often times the person on the receiving end is so happy to have their person or their product displayed prominently that warrants readers' attention. We all know that we rarely read ALL the CD reviews in JT and DB beyond the main feature ones. I'd be willing to bet that this was the case for Saxophone Colossus - maybe not with today's degree of sophistication in publicity and such but something like it probably happened. Let's not forget that back then the producers were often also the guys writing the stories up in the magazines and newspapers.

Beg to differ. There was nothing temporal about the recognition. It was quite instantaneous. Nearly every jazz fans who heard the LP raved about it. That one plus the BN Village Vanguard LP. I'm speaking from the European perspective. From everything I've read/heard, that was the American perspective as well. There's no way to win in this situation though I know I'm right. Here's why: 1. Who the hell is gonna say they didn't dig it when it first came out. 2. There were surely people who didn't immidiately buy it for one, and didn't dig it for two but stayed in the closet about it. A lot of guys today will please their chums who dig one album by saying oh yeah I dug that album even if they didn't dig it cuz they fear being rejected or ridiculed. I personally love Saxophone Colossus but I gave it to my bass player friend who is about a 5 on the jazz knowledgeability and ability to hear good music scale and he said it was nothing special. Most people can't appreciate the subtleties of Sonny's rhythms or his ingenious style and inflections same way people can't hear Coltrane's supremely superior superimposed changes to any tune he plays on).

Happy voting! Hoping some controversy will brew here.