BillF

Saw Ted at a much earlier date in Paris - at the Chat Qui Peche in rue de la Huchette in April 1968, just before the "evenements" of May '68!

Jazz Library: Wes Montgomery online from BBC Radio 3. Jazz writer Alyn Shipton discusses Wes Montgomery's records with British guitarist, John Etheridge.

The grand old man of jazz in Britain. No one who liked jazz in this country in the last half century was untouched by his influence. My first jazz record was his "Bad Penny Blues" which I bought in 1957 on 78 r.p.m. shellac!

Charles Mingus, "Gunslingin' Bird (or, if Charlie Parker was a gunslinger, there'd be a whole lotta dead mf copycats)" (Broad intepretation of "song")

Never saw Yusef Lateef play. Just saw him crossing Leicester Square in London in the sixties wearing a beret and carrying a saxophone case. He was appearing at Ronnie Scott's at the time.

I always liked "Coolin' Off With Ulanov"

Ummm .... But isn't this a Monk thread? P.S. "When I Grow Too Old to Dream"?

Well, yes, it was at a bar that I chatted with John - in the Peel Hotel, Leeds in the late sixties - though what he talked about wasn't drinking, but the joys of playing with NHOP!

Of course, Monk's "Evidence" is based on the chords of "Just You Just Me" ....

I was also saw the "Giants of Jazz" - at the Dominion, Tottenham Court Road, London. I had previously seen Monk in April 1961 at the Free Trade Hall, Manchester when his quartet were in a double bill with the Jazz Messengers.

Jazz from Studio Four online from KGBH Boston. Enjoying Steve's show featuring trumpeter Ryan Kisor.

Session 1 - July 29, 1950 Session 2 - June 23, 1953 Thanks!

Al Cohn's Tones (Realm/Savoy) Two sessions: 1) with George Wallington, Tommy Potter and Tiny Khan 2) with Nick Travis, Horace Silver, Curley Russell and Max Roach Anyone know the recording dates for these? (No information given on the album.)

A fine book! Robert Gordon, Jazz West Coast is also a good guide to the records.

Sad news. A worldwide phenomenon. Among the names of the fallen personally mourned by me are Mole Jazz, Dobell's, Reckless Records, The Polar Bear, Decoy, Tower Records, Virgin ....

Very occasionally in the LP era, separate tracks weren't an issue. On Miles Ahead the music doesn't ever stop. A transitional chord carries you to the next piece. In those days, when record store owners would allow one track only to be played as a sample before purchase, I remember quietly advising an intending jazz purchaser to select Miles Ahead.

Title order has an importance, and there are two things i hate with the CD's : 1 - CD's are too long : 60 or 70 mn of minutes is far too much for me, i do not not really listen the whole album carefully. That's why i often listen in random order (otherwise i would only really listen the first tracks). By doing this, anyway i break the carefully chosen order of the songs. Not very satisfactory. The 40mn format of the vinyl was the best way to enjoy music, IMO. I'm just musing on these wise words as I listen to Vol 1 of Jazz Messengers at Cafe Bohemia. This CD is going to last for 64 minutes, a totally different experience from the 20 minutes or so of the original LP side and inviting listening strategies of the sort Michel describes.

I saw Lightnin' Hopkins play during the British blues boom of the sixties. Love his "conversational" vocal style and eight-to-the-bar boogie-style guitar playing. Lovely guitar sound, too. One of my favorite blues artists (along with Jimmy Reed).

Now listening online. Some tremendous music there!

That's how I've always heard it said.

Everything smelling of roses here in the North

Just who are those "others"??

Jazz Line-Up live from BBC Radio 3. Now playing: Track from newly-reissued Wayne Shorter, The Soothsayer. Great! must buy this!

Further thoughts on this .... This track-placing strategy will also have increased the sale of albums, as Side 1 Track 1 would have appealed to a much larger contingent than the other "straight jazz" tracks. And it was common practice at the time in record stores - in the U.K. at least - to let potential buyers hear a little of the album. Inevitably, this sample was from the beginning of the album - Side 1 Track 1. Use of the autochange more or less ensured this.