BillF

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.

That's where I found out about the Treadwell site. What a treasure house!

When I used to buy Blue Note LPs in the sixties, I noticed that Track1 Side1 was invariably something with a heavily accentuated back beat. Recently I read Richard Cook's book on Blue Note Records which confirmed that this track-placing strategy was an attempt by Alfred Lion to score juke box hits and, with things like "The Sidewinder", he sometimes succeeded!

Archived classic jazz radio from www.oscartreadwell.com. Now playing: Clyde Hart profile.

Apple Jam is an amazingly swinging session. Always knew Wardell could do it, but Getz's playing here is a revelation! Hear! Hear! I love the picture of the studio from that session, with a shirtless bass player (name escapes me, and I don't have the box in front of me). Looks like those guys were SERIOUSLY burnin' the place up! The shirtless bass player was John Simmons. It was recorded in Hollywood on August 3rd and it's obvious from the photos that the weather was as hot as the music!

Ah DJM twofers ! I have some DJM single LPs somewhere, el cheapo colapso - 1975/76? Dobells £2.99 it sounds about right. Aren't they (DJM) the guys who did the Stanley Turrentine LP with Laurel & Hardy cover art? I can't remember when I bought this, but as the price sticker includes the "p" in "£2.99p", I think it must have been soon after the introduction of decimalised currency in 1971. (I have some Dobell's records from the "transitional" period, where the price is given in both £sd and decimals!)