BillF

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Now this is something different! Local lads Hughes, Baranek and Masser are joined by national figures Barnes and Adams in a spirited and surprisingly successful album. Strange to hear on disc stalwarts of the local gig scene!

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Yes, listening again after so many years Cannonball does seem the weak link. As was revealed by his leader dates, he isn't playing his natural style here, but seems to be adopting something of Trane's sheets of sound, which doesn't suit him. My views on this haven't changed much. When I heard the album on its release I complained to fellow student Jack Massarik (later to be jazz correspondent of the London Evening Standard) that Miles had picked a tasteless altoist. In those days Miles + altoist = Bird, where I was concerned. I agree that "Billy Boy" is a banal tune, but for me the track is rescued by Philly's fantastic exchanges with Garland.

It's a long time since i read it, but I recall thinking that as a British jazz trumpeter Chilton was too remote from his subject to do Hawkins justice. I read a library copy which suits me, as I didn't think it deserved a place on my shelf.

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Back to a favourite from my youth. Amazing to think that this was so generally popular that "Straight No Chaser" from this album was on a juke box in Leeds University Students' Union in the early 60s. But, of course, this was pre-Beatles. My inspiration for playing it now was this fascinating analysis of what Philly Joe does in the opening bars of "Two Bass Hit" from the album:

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Not a very original idea, but I think Monk found his man when he hired Charlie Rouse. (The longevity of the arrangement adds weight to my opinion.)🙁

👍 Leo Wright was one of those "single" visitors to Club 43 in Manchester in the late 60s whom I saw. How did I come to miss Rollins? But I did manage to get there for Webster, Dexter, Griffin and Mobley.