Justin V

I especially like his work on Kenny Dorham and the Jazz Prophets, Vol. 1.

I'm pretty sure it has been mentioned here, but does anyone remember the album where a male vocalist sang songs that were originally written from a female perspective with the lyrics unaltered? There was a track from it (maybe 'The Man I Love') on YouTube, but I can't find it. It was a pretty mysterious album, with the vocalist recording under an assumed name.

Cruelly, he was nicknamed Fat Girl, but perhaps he didn't mind too much as he gave a composition this name. Maybe he was like Bird and wasn't too concerned with the particulars of how and what his compositions were titled.

I don't have any of Gryce's leader dates, but I like what I've heard of him. I'm hoping that it includes some of those dates with Wyands and Williams.

Yes, that's a great one! Have that on LP - will have to pull it out later ... No - but sure would like to hear that! Any more info? Label, etc.? It's on 33 Records and can be found on Amazon (as a CD-R) or from Tina May's website. The album even has Ray Bryant's brother, Len, as a backing vocalist. Ray played piano on Len's 2006 album.

I'm listening to the Jo Jones Trio album from Jo Jones's The Everest Years. Between his sprightly playing and contribution of 3 compositions, Ray Bryant is really the album's not-so-secret weapon (and Jones's playing is frequently astounding). It's also worth noting that his brother Tommy is rock-solid on bass on this one. Has anyone heard the album that Tina May did of Bryant songs with Bryant on piano? I don't listen to many vocal albums, but I've been meaning to hear it for quite some time.

I was just listening to Art Blakey's Orgy in Rhythm two weeks ago. Bryant navigates the waves of percussion quite well. I don't have any of his leader dates, but plan on finding some. RIP.

I, like many other people, probably focus too much on all of the classic Blue Note recordings of the 50's and 60's. So, I thought that it'd be fun to talk about what Blue Note has done more recently, whether it's the good, the bad or the ugly. I count Tommy Flanagan's Sunset and the Mockingbird: The Birthday Concert, Kenny Werner's Lawn Chair Society and Ron Carter's The Golden Striker among my favorites. Yes, I know that people don't like The Golden Striker, but it's an understated, charming record. Joe Lovano's Joyous Encounter is well worth acquiring to hear Hank Jones, George Mraz and Paul Motian together. Anything Joe Lovano contributes is just icing on the top. While not quite in the same league as the Tommy Flanagan disc, which had Flanagan with his regular group, Steve Kuhn's Live at Birdland is a fine album. I think that Stefon Harris's Black Action Figure and Tim Hagans's No Words are two albums that seem to fly under the radar. With Gary Thomas and Greg Osby appearing on Black Action Figure, you'd expect something more like M-Base (which another 90's Blue Note, Lonnie Plaxico's Melange, provides). In addition to Hagans and Lovano's strong playing, No Words features the interesting rhythm team of John Abercrombie, Marc Copland, Scott Lee and Bill Stewart. On the other end of the spectrum, albums like Wynton Marsalis's He and She, Lionel Loueke's Mwaliko and Herbie Hancock's River: The Joni Letters did nothing for me.

I'm watching it right now. Thanks for posting this. Eddie Diehl seems like a cool guy. I need to pick up Well, Here It Is. With Diehl, Hank Jones, John Webber and Mickey Roker, you can't miss.

I'm sticking to my guns with this one. First, although Pearson is recognized as a lyrical composer, he also could be aggressive. For example, check out much of Johnny Coles's Little Johnny C. Second, Pearson worked well with former Jazz Messengers such as Donald Byrd, Freddie Hubbard, Lee Morgan, Wayne Shorter, Lou Donaldson, etc. Third, Art Blakey's Jazz Messengers had a softer side, as demonstrated on an album like Like Someone in Love. Fourth, Pearson recorded frequently with Lex Humphries, whose Blakey-influenced style meshed well with Pearson's playing. That being said, I'm more familiar with Pearson as a sideman, so my perception of him may be different from those who are lucky enough to have heard many of his dates as a leader. Would he have ultimately found a role with the Jazz Messengers to be satisfying given his gift for lyricism? That's another question.

I think that it's important to note what an integral role Pearson played on so many classic Donald Byrd albums. His playing, arranging and composing are greatly responsible for making Byrd's albums so consistently enjoyable. I can't help but think that Pearson would have been a hell of an arranger/pianist for Art Blakey's Jazz Messengers given his soulful playing and skill at arranging for small groups.

Mike DiRubbo currently has a Kickstarter campaign to fund the release of a duo project with Larry Willis. For those unfamiliar with Kickstarter, it's kind of like the ArtistShare model, with a variety of rewards for backers. If the funding goal is not met by the deadline, backers are charged nothing. I'm a backer and thought that maybe some people here would be interested in it. You can check it out here. Coincidentally, DiRubbo was a student of Jackie McLean, with whom Willis made his first recordings.

I really like Sweet Honey Bee. There is not a weak track on the album, and the cast of sidemen is top-notch.

Happy birthday, Mr. Smith.

David Wong I've been impressed with David Wong's playing every time I've seen him. Between his work with Hank Jones, the Heath Brothers and Roy Haynes, he certainly seems to be a rising bass star. Regarding the Jones/Haden duo, I'm looking forward to it, but I still haven't heard Steal Away. I would've loved for Jones to have recorded a duo album with George Mraz.

The Great Jazz Trio - Monk's Moods, with the lineup of Hank Jones, Eddie Gomez and Jimmy Cobb.

For anyone interested, there'll be a Hubbard giveaway at AAJ next month.

I've seen Sonny twice in the past few years and Cranshaw was on electric both times. I'd love to see him on double bass. I was hoping to see the band while Russell Malone was on board, but you can't go wrong with Peter Bernstein.

I was just enjoying Butch's playing on Donald Byrd's Free Form. I plan on ordering his new disc later this month. It's so exciting to see him back on the scene.

I had been trying to track down the Don Pullen for a year or two before it was finally reissued, and I somehow haven't purchased it yet. That's a major oversight on my part.

He's on Ralph Bowen's Power Play, which also is on Posi-Tone. I had never heard Bowen before, but it's a good album.

I did, but I thought that he sounded too much like Oscar Peterson. I see on his website where he has been compared to Peterson, but he sounds so heavily influenced by Peterson that I found myself wanting to listen Peterson instead.

I saw Phil Woods about 6 years ago and he didn't sound like his health was negatively affecting his playing. I had only been into jazz for a couple of years at that point and didn't fully appreciate how great it was to get a chance to see him (and Bill Charlap). I particularly enjoyed Bill Goodwin and Steve Gilmore.

I'm really sorry to hear this. I never had the chance to see him in concert. He was scheduled to play a duo with Kahil El'Zabar a few years ago in my hometown, but he couldn't make it (Hamiett Bluiett took his place). I enjoyed his latest album, Prayer for Peace, as well as the two albums preceding it. RIP.

Here's wishing Misha Mengelberg a speedy recovery. I saw the ICP Orchestra in Buffalo a few years ago and it was a blast.