BillF

Interesting! My two jazz reference books The Virgin Encyclopedia of Jazz (ed. Colin Larkin) and Cook and Morton's Penguin Guide to Jazz Recordings give 1923 and 1925, respectively!

Horace Silver, You Gotta Take a Little Love (Blue Note)

Hampton Hawes with Barney Kessel, Shelly Manne & Red Mitchell, Four! (Boplicity/Contemporary)

This title is taken from Sidewinder's eloquent account in the "What are you listening to right now?" thread (posts #56121 & 56128) of seeing the ailing Bill Evans during his final visit to Ronnie Scott's Club in 1980. What's your contribution under this heading? Here's mine: Again at Ronnie Scott's, this time in 1969, I saw the Horace Silver Quintet. I sat right up at the front, almost in the band! On trumpet was Randy Brecker, his brother Mike on tenor, Billy Cobham on drums and (IIRC) the bassist was John Williams. The band was smokin' from start to finish and the rapport between Horace and Billy Cobham was something to behold! A wonderful evening!

Harold Land, Harold in the Land of Jazz (Boplicity/Contemporary). Recorded Los Angeles 1958 and featuring Rolf Ericson, Carl Perkins, Leroy Vinnegar and Frank Butler. Carl Perkins' solo on his "Grooveyard" is a highlight.

We live in an age of postmodernism where all the arts, including jazz, are characterised by the replacement of the modernist avant-garde ethic of always trying for something new by a "pick and mix" selecting, often with tongue in cheek, of elements of old styles. Jazz musicians like Bird, Trane and Ornette were modernists who did something no one had heard before, but from the seventies, with the phenomenon of the backward-looking Scott Hamilton and Warren Vache, we entered the postmodernist stage which is still with us. Today's jazz players tend to put their styles together from pre-existing elements, whether from swing, bop, the avant-garde or world music. The result is a jazz which has ceased to be "progressive" and which can be labeled "neoclassical" when it enters the academy, a tendency particularly associated with the activities of Wynton Marsalis. Critics Alyn Shipton and Ted Gioia are two I can think of who promote this interpretation of the way things are today.

Harold Land, The Fox (Boplicity/Contemporary). Recorded Los Angeles 1959 with Dupree Bolton, Elmo Hope, Herbie Lewis and Frank Butler. Wonderful album!

Peter Friedman's post is closest to my experience of any post in this thread so far. I've been listening actively to jazz for 51 years and before that jazz-influenced music was everywhere in my childhood. Of course, the thrill of being blown away by the music is no longer there as in my youth; now I'm like a connoisseur savoring a fine wine! Over the years I've listened to rock 'n roll, blues, 20th century classical music, swing and New Orleans jazz, but for a long time now I've found most of what I need in recorded jazz c.1945-65. Mind you, my range is pretty broad: everything from Buck Clayton to Don Cherry and from solo Bill Evans to the Maynard Ferguson Orchestra. And I'm certainly not running out of new music; a vast amount was recorded in those years and a few key radio shows bring new sounds to my ears with remarkable frequency. So - no sign of jazz burnout!

I remember that, after leaving the Gillespie orchestra, Al Grey and Billy Mitchell formed a quintet. I never heard any records. Did they make any?

A girlfriend of mine, back in 1961, told me that Melly once leered at her from the stand and said, "You've got nice legs!"

I was surprised to find Newman on a Lee Morgan Blue Note album Sonic Boom, but how good he is!

Good one, with Tony Scott! Yes, I'm enjoying this one quite a bit! Is that Tony Scott? Maybe playing under a different name? The name on the back says A.J. Sciacca. Tony Scott, born Anthony Sciacca.

This evening's fourth and final program in BBC 4's Brecon Jazz Festival 2007 series at 8.30 - 9 p.m. is "Julian Joseph interviews popular jazz fusion artists". Well, I'll give it a try, anyway!

Al Grey was a tower of strength in the Gillespie orchestra in the late fifties. He takes some great solos on Dizzy Gillespie at Newport (Verve).

Incidentally, as well as agreeing on the Haig and co. sessions, I'm also with you on The Steamer, which is part of the 3CD set which I name as item no. 2.

My favorite Stan Getz albums are: 1) Whatever is now available to cover his work in 1950-52 with Jimmy Raney, Tommy Potter, Roy Haynes and Al Haig or Horace Silver. (I have this on vinyl). 2) East of the Sun/West Coast Sessions (Verve). 1955-56 sessions with Lou Levy, Leroy Vinnegar, Conte Candoli and Shelly Manne or Stan Levey. 3) Stan Getz and J. J. Johnson at the Opera House (Verve). 1957 session with the Oscar Peterson trio and Connie Kay in which everyone blows up a storm!

Stan Getz & Horace Silver, A Pair of Kings (Baronet) Tracks from the early fifties featuring Silver or Al Haig, Jimmy Raney, Tommy Potter and Roy Haynes.

The Fabulous Fats Navarro Vol 2 (Blue Note)

Larry, isn't there a name for assembling things from pre-existing parts? Isn't that what they call "postmodernism"?

Long time since I heard that one, but I remember that great title "Filthy McNasty"!

Charlie Parker on Dial Vol 3 (Spotlite) The 1947 "Relaxin' at Camarillo" session.

The Best of Woody Herman (CBS) Classic tracks from 1945 by the First Herd.

The Magnificent Charlie Parker (Columbia EP) "Au Privave", "She Rote", "K.C. Blues" and "Star Eyes", recorded 1951 with Miles, Max, Bishop and Kotick.

The Genius of Bud Powell (Verve twofer) Classic trio and solo sides from 1949-51.

Charlie Parker Vol 5: Bird and Diz (Saga). The ultimate all-star bebop quintet with Bird, Diz and Bud backed by Roy Haynes and Tommy Potter. Broadcast in 1951 from Birdland and introduced by the ebullient Symphony Sid Torin.