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So, What Are You Listening To NOW?


JSngry

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Almost anything by Billy or with him is worth getting. I have a lot of those albums including Lodestar. I've never seen those other albums he recorded with Max.

I first "discovered" Billy seeing him with Max at the Keystone Korner in the late 70s. Been a huge fan ever since. Try to see the Cookers whenever they're in the Bay Area.

Edited by BFrank
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3 hours ago, BFrank said:

Almost anything by Billy or with him is worth getting. I have a lot of those albums including Lodestar. I've never seen those other albums he recorded with Max.

I first "discovered" Billy seeing him with Max at the Keystone Korner in the late 70s. Been a huge fan ever since. Try to see the Cookers whenever they're in the Bay Area.

Here is one more

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7 hours ago, soulpope said:

The MPS is great, whereas the Marge outing always left me cold (but the benchmark of his best recordings is sky-high) ....

Yeah, I agree that Trying To Make Heaven My Home is the stronger record.

... But I still like The Awakening.  It's like an "alternate takes" record, familiar pieces performed with a less intense vibe.

 

Edited by HutchFan
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Performances from various broadcasts, Feb. - May 1935, in good sound.  An added bonus is that the liner notes are the reminiscences of Miss Helen Ward, written in 1997.  She writes about those early days of the band, these particular broadcasts which propelled the band's rise to the top and about individual band members including Bunny Berigan, Toots Mondello, Hymie Shertzer and Gene Krupa.  Of Mr. Krupa, she recounts a 1973 Carnegie Hall concert by the BG Quartet plus Sam Stewart.  Mr. Krupa was in failing health and would pass away before the end of the year.  Between each number, various band mates would stall -- Teddy Wilson would adjust his piano bench for a long time or Slam Stewart would take particular care in rosining up his bow or Lionel Hampton would try out a number of different mallets before choosing which ones he would use -- all so Mr. Krupa could regain enough strength to play the next number. 

Harry Goodman must be one of the most "overshadowed brothers" in jazz history.  He was a solid bassist and would have earned a place in this band even without nepotism.  He wasn't a creative player or an improvisor, but he laid down a solid beat which was perfectly suited for the era and setting in which he played.  He is joined here by George Van Eps on rhythm guitar, but I think I like his later pairing with Allan Reuss even better.

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