cannonball-addict

I didn't want to go through all those available albums but the combined big bands of Palmieri and Puente put out a CD in 2000, I think, that was really nice. Palmieri is one of the forgotten kings of Latin jazz in the latter half of the 20th century. Let's also not forget Pete Escovedo!

My vote is for Paul Bollenback!

Well, there you have it! have what? As simple and as profound a statement as could be said about any jazz great? you mean Eric Alexander? LOL

He still plays saxophone.

Auditioned and got the part for "The Dude" in The Big Lebowski but skipped town the day of casting. Ghost-writes Lenny Pickett's columns in Saxophone Journal.

I think #3 is Track 4 on this. I never heard of him before this. Is it just me or is there very little interest in this disc of the BFT compared to the other. Seems to be a lot more quivelling on the other disc. I guess this is what happens when you put out a 2 disc BFT - people rally around one that they have the most guesses for.

#3 of Disc 1 IS Lovano on tenor and it IS in my collection but I was too quick to label this one. "Chelsea Bridge" is not even on the CD linked in the quote of my original post. It is from an Ed Thigpen disc from 1998 on a Danish label which puts out a lot of great material called Stunt Records. Here is a link to the actual disc: http://www.mp3.com/albums/531588/summary.html matt

He was an old poker buddy of Milton Berle.

Is that a metal Berg Larsen on alto???? Eww....

I think it's fair to say that both Miles and Monk were minimalists to some degree. They were also both innovators. Miles, stylistically. Monk, harmonically and compositionally. It's not entirely about leaving space but it's about contemplating what you're gonna play in your solo that brings something new to the table. Monk and Miles playing on anybody else's tunes would invariably bring something new to the table. OP, though a great pianist with tremendous technique, would not always do so. It would be a rehashing of Tatum, Bud Powell and James P. Johnson. Also, OP played the same ideas over and over and over. Listen to any OP record and tell me where he doesn't repeat himself in a solo. Rhythmically his triplet patterns get really old really fast. He could play but so what if Miles and Monk didn't dig? Guys like Miles and Monk were into originality. I think they lived by a mantra that went something like this: "If it ain't new or you played it already on this tune on this sitting, lay out until you think of something entirely fresh or a different way to phrase it." Perhaps that's the reason for the space in Monk and Miles' playing.

Looking for Steve Swallow titles from the 90s. If you have any that you might like to sell, make me an offer. I am especially interested in "Deconstructed," with Chris Potter, Ryan Kisor, some guitar player (not Scofield) and Adam Nussbaum. mm

Hah. I dig the second sentence!

I didn't say Kenny Barran cuz the original post referred to people who were making waves in the 30s through the 50s although a lot of the people listed here did not really make waves until the 60s. -mm

I racked my brain and came up with these: Jimmy Cobb Joe Wilder Benny Bailey (doesn't play too much anymore) Freddie Hubbard Dr. Billy Taylor Ornette Coleman Chico Hamilton Idris Muhammad Curtis Fuller Kenny Burrell David "Fathead" Newman Houston Person Wayne Shorter Jimmy Scott Jimmy Smith Dr. Lonnie Smith Cedar Walton Slide Hampton Les McCann

I joined this board after hearing about it from Bertrand. I wanted this place to augment my information sources so this was initially an alternate source of info to AAJ but I felt like I would really fit in here after seeing how things work - both in terms of being able to contribute a unique perspective (I am probably considerably younger than most members - I just turned 21 in June) and in terms of being able to absorb a lot from you older guys and gals. Matt M.

I listened to disc 2 first by accident. So here goes for disc 1: 1. It's definately Bean, but I forget this tune. It's nice to be reminded of where jazz today comes from....where its roots are.....herein lies our answer. 3 1/2 stars. 2. I dig the breathy/raspy tenor sound. I know I've heard this guy before but I know I'm probably not gonna get it before others do. 3. Haha. He tried to sneak a new one in there on us. I want to do this when my time comes around. This was correctly identified by Jim R as Billy Strayhorn's beautiful composition "Chelsea Bridge," and this version comes off this new disc.. 4 stars. I love this album. I think it's his best in the last 10 years. 4. Things Ain't What They Used To Be. No clue on the tenor player. Piano player could be Hank Jones or Horace Silver and OP is too obvious for a BFT and this guy's playing isn't much like OP at all. I really dig the octaves in the left hand. Great conception from both players even if I don't know who they are. 3 1/2 stars. 5. "The Preacher" by Horace Silver. I don't think this is Horace himself but it may well be. One of my favorite Jazz Messengers tunes. Yeah I'm going with "The Hardbop Grandpop" as he was once (and may still be) called. This is the trio at its best. 4 stars. 6. Blues in the Night? No....well I like it but IHAFC. 3 stars. 7. Gotta be JJ and KD with Bud Powell on keys. What a rich blend between those horns. I played this over and over and over just to hear the head. No idea about the tune. 4 stars. 8. The first truly modern thing on the BFT. HAFC. I feel like I should know that tpt player. Somehow I doubt its anyone in the LCJO (hehe). I could take several uneducated guesses - Terrence Blanchard? Jeremy Pelt? Terrell Stafford? Jim Rotondi? At least by his sound we can rule out Tom Harrell and pretty surely Nick Payton. But I'm sure I'm wrong on all counts. BTW, nice piano solo. 3 1/2 stars. 9. Ooh yeah! Nice big band arrangement. Swing it!!! Good bone section - a rarity. This is gonna sound weird but the tenor player sounds like Jimmy Greene (yes I mean the young guy who plays with Tom Harrell and Harry Connick). I can't tell if this is a poor quality recent recording or something that's rather dated. I give this 4 stars despite a rough beginning. 10. "Maiden Voyage" by Herbie. No clue who's on ?Rhodes? or who the horns are. I'm not digging the lack of intonation in the horns at certain times. That might be George Coleman on tenor soloing in the right channel. I love his concept. It's so classically modal. The tenor in the left channel...IHAFC who it is. Could be Benny Maupin - he played some tenor in addition to bass cl. No solo for the keys? No drum solo? Its modal! There's the intonation issue again. 3 1/2 stars. 11. Poor recording quality, yet I really feel where they're coming from. I'm sure Dan put this straight from vinyl to CD. This has not been touched bv a remaster process. Sounds like tenor, trombone, piano, bass, drums. Nice quote of "It Don't Mean A Thing..." by pianist. For some reason I feel like the pianist is a Detroit man. I dunno why. Just a hunch I guess. 3 stars. I liked this disc much better than #2. I thank you Dan for the past three nights of listening pleasure. I will continue to post if I come up with anything more. You really covered a lot of jazz history with this BFT.

Thanks Dan. This is obviously heavy on da blues. Nothing wrong with that. I just had to stop and start several times because it's hard to listen to ones blues after another for several long takes. Lots of things to say, so here goes: 1. The first pianist is really groovin'. I assume the pianist is a he. I dig his interpretation of Summertime, though I can't tell if he's doing a medley or if it just goes on forever (i.e. 10 minutes). If he's stretching the outro he could have ended it around the 5 minute mark. It still would have stood out as particularly emotive. But overall his personality really shines through. It's a feel-good live performance. It could be Bobby Timmons but the recording quality is too good. I have few other clues to who it is. It is apparently relatively recent (i.e. the last 20 yrs) and that the pianist is true to his roots in both blues and straight-ahead jazz. My guess is he's probably black from all that soul-power and the accent in his voice when he says "I've got a crink in my finger," and "that's the chicken." From the tremolos I wanna say Cyrus Chestnut, but the voice that the listener hears doesn't exactly match Cyrus'. BTW, what is that thing he throws in around 9:05 to 9:15. That came outta nowhere. 3 stars. 2. This sounds like a slightly modern Wes Montgomery clone. It's got a smooth vibe. I don't know the tune. It's frankly a bit boring at the beginning. Fails to keep my attention. I like the piano's quote of "Invitation." It's a 32-bar blues with a repeated 16-bar A section, 8 bar bridge and and 8 bar recapitulation of the "melody" though there is none to speak of besides the blues scale. It reminds me of this much faster blues tune with the same form by Don Menza. 1.5 stars. 3. Yeah baby. Swing it!!! Whew. Hardbopjazz would love this. The tune is Jeanine by Duke Pearson but I have no clue who the sax player is. At first I had the inkling that he was a smooth guy but when he started making the changes like he does (in such tasteful form) I knew this was an older guy out of the Hank Mobley school. He uses licks that somehow all sound like his own. You don't hear some of these lines too often today. I might have to transcribe this for my horn. Definately groovin and in the pocket. Great support from a rhythm section with big ears. 4 stars. 4. Funk? We were just swingin' so hard. I personally have no interest in this tune. I think I hear a blues theme goin on. Oh, wait....it gets a little interesting around 1:10. I don't really care for this tenor player. 2 stars for the tenor. 3 for the rhythm section. 5. Is this Gene Ludwig or Hank Marr on organ? Or some later lesser known cat? Not terribly impressive chops....This tenor has a sound that is recognizable but I can't put my finger on it. Sounds too generic for me. 2 stars. 6. Sounds like a later incarnate of the Basie band. The trumpet hits are signature Basie-style arrangements. I am unfamiliar with the later Basie sidemen. Otherwise I'd say Marshal Royal on alto and somebody like Budd Johnson or Frank Wess on tenor. The pianist is almost certainly the Count. But, I may be way off the mark. 2 1/2 stars. 7. This is an early organist. Could be Count Basie again. He dabbled in organ early on. But it's probably an earlier cat. And it doesn't sound like the Count's piano style at all. I like it, but I have to admit I'm getting a little tired of blues for one listening. Ooh, some nice substituted changes by the tenor there. This is old school. I can tell the tenor player checked out Johnny Hodges at some point as every saxophone player should. 8. I like this. I've definately heard this tune before. Yeah I like that repeated tag on the end of the head. And the pentatonic harmony leading into the solos is hip. Nice playing. This tenor player sounds a bit like Frank Foster. Definately someone that age. Could be grandmaster Clark T. on trumpet in his earlier days. This is the epitome of what jazz did to the old blues. Fast hands on the keys and he heads "out" for a few moments which keeps me on my proverbial "toes." 4 stars. BTW, it kills me that I don't know the names of these tunes. 9. Parker's Mood? Is there a melody there? I love the slow drone of this tenor player. I KNOW I should KNOW this player. WOAH?!? Another tenor.....Ok. Hints of Stanley Turrentine. Could be Willis Gator Jackson? He was certainly known for playin' the blues. 3 stars. 10. More BLUES. Nah.....just kidding. I love the blues but seriously. Cannonball played this. It's a song I'm sure I know but it isn't coming to me right now. I'm sure you all know it right away. 3 1/2 stars. Thanks so much Dan. This was a listening treat. Can't wait to discuss the other disc. That one at least has some identifiable players for me.

Got Mine. Thanks Dan. This is gonna be particularly fun. I got the blues!!! Matt

Cecil Bridgewater does a lot of composing/arranging work in New York. He's also done a lot of work with his ex - Dee Dee Bridgewater. Is Wallace Roney underappreciated? I dunno. I welcome arguments for and against. The cat can play. king.ubu - I was thinking off Soloff today. Good call.

Bright Moments is whistle-blowing without checking out the facts. Half and eBay have been partners for quite a while now. The same system as always applies. The merger just made Half's processes a lot more streamlined and automated for better customer service.

Ernie Royal Snooky Young Yay for Joe Wilder. Somebody else knows about him. He has been rightly honored as a member of the Smithsonian Jazz Masterworks Orchestra.

Woody Shaw - not really underrated Booker Little - let's see a show of hands of people who appreciate his who actually have Booker in their collections right now. Yeah so go out and buy some! Blue Mitchell - among youngsters today like myself, no one knows about him and very few are educating about his legacy; a lot of his stuff is being sampled today by DJs for remixes and I'm pretty sure he's not recieving the royalties

Ron Stout, George Rabbai, and Roger Ingram (played with the Herman bands of the 80s) Eddie Allen (Carl's older brother who has played with the best of the best including Muhal Richard Abrams, Charli Persip Superband, Steve Turre and Lester Bowie) James Zollar (has played with Mongo, David Murray, Cecil McBee, Steve Coleman, Lester Bowie, Don Byron and others) Booker Little (needs no explanation) Mike Lawrence (on several Fantast releases back in the day including Joe Henderson's "The Kicker")

Didn't Concord go bankrupt at one point due to poor management? If I am correct in this assumption, how in the world did they get back on top of things? Was it the branching out with all the "adult" labels? Was it Glen Barros? I feel like I'm missing something here. Also, Concord never takes a chance these days. They are resting on their laurels. They release standards albums only with the exception of the Caribbean Jazz Project stuff. It's good music - much of it, but they're certainly not taking any risks with up-and-coming instrumental improvisers which it seems they could afford to make with the catalog they have just from Concord's vaults alone. (Marian McPartland, Rosemary Clooney, and Michael Feinstein alone could carry that burden, not to mention Playboy Jazz). What gives? Finally, could the Concord-Fantasy deal mean that the Fantasy reissues will be a bit fresher and more attractive. They are the shoddiest reissues out there. matt

Is it just me or has Sonny's tone spread wider and wider over the years. I went to a concert he did a few years back in DC at Carter Barron Amphitheatre (I don't know how in G-d's name they could afford him - he is so removed from today's jazz world and especially the business part of it, it wouldn't surprise me if he's still using rates from the 60s) and his sound was totally out of his control. Was he a smoker? Or is it age? The same can be said for Von Freeman's sound today (though his tone always kind of wavered off pitch as part of his package). Don't get me wrong. I love Sonny. One of my first records was A Night at The Village Vanguard, but I think it's a bit ridiculous to put all this praise on a guy who hasn't really been doing anything special since the 60s? I wish he would get out on the road more often. Work with some different cats maybe....Look what the Heath brothers have done with Jeb Patton, breathing youth into their group. Roy Haynes has done the same thing. But we're dealing with a guy who's always been removed from the whole PR/record label/jazz icon part of the business. I guess it's a lost cause to want him to do what Wayne Shorter and these other elder statemen are doing. matt