Stereojack

I bought the CD when it first came out in the 80's. This was an unreleased session, and it was tantalizing. Overall I agree with riverrat's comments. There is some fine music to be heard here. The opportunity to hear from the scarcely recorded Hugh Brodie is a plus, but Massey's trumpet playing is, to be delicate, limited. It's not difficult to see why the session went unreleased originally. If you are intrigued by Massey's music (as I was), there's something here, but the date is flawed by Massey's limitations as a trumpeter.

A nice review. Thanks for posting. I agree that in general Prestige blowing sessions tend to get a bad rap. I was weaned on the Gene Ammons sessions, and I guess I'm going to have to pull this gem out once more and give it a listen.

"I May Be Wrong" is mistitled. The tune is actually "Lullaby in Rhythm", mentioned among the discographical details in post #2.

The manager (owner?) of Christy's was named Eddie Curran. He recorded a number of sessions at the club. The Bird/Wardell date was first issued on Charlie Parker Records in the early 1960's. Curran also recorded several other jam sessions, some of which were slated to be released on the Zim label sometime in the 1980's, but Zim records ceased operation and never issued them. I believe the recordings were made on paper-backed tape. I agree that, considering the circumstances, the sound on this session is quite adequate. WOW thanks jack! I wonder where the other Curran recordings are! Mebbe a treasure trove waiting to be found!!! The tapes are still, to my knowledge, in the hands of Art Zimmerman (Zim Records). I also believe that copies of them are circulating among collectors.

The manager (owner?) of Christy's was named Eddie Curran. He recorded a number of sessions at the club. The Bird/Wardell date was first issued on Charlie Parker Records in the early 1960's. Curran also recorded several other jam sessions, some of which were slated to be released on the Zim label sometime in the 1980's, but Zim records ceased operation and never issued them. I believe the recordings were made on paper-backed tape. I agree that, considering the circumstances, the sound on this session is quite adequate.

The dark maroon Savoy pressings are from the 1960's. Original label would be blood red.

A fine recording - glad to see it get some recognition.

Some of my favorites: Woodlore (1955) http://www.allmusic.com/album/woodlore-r150529 Sugan (1957) http://www.allmusic.com/album/sugan-r157526 Musique Du Bois (1974) http://www.allmusic.com/album/musique-du-bois-r150509 Quartet Live, 1 & 2 (1978) http://www.allmusic.com/album/phil-woods-quartet-live-vol-1-r150519 http://www.allmusic.com/album/musique-du-bois-r150509 The vinyl releases of the last two were on Clean Cuts, but the second seems to have only made it to CD on MFSL.

I may not be on the same page as some of you - I loved the Phil Hartman collection. The man was a genius! I'd highly recommend the Best of Christopher Walken. He wasn't a regular cast member, but he appeared often enough that they had some great stuff to choose from.

I believe the rights to all of the Artists House recordings reverted to the artists. Since Desmond is deceased, perhaps whoever is handling his affairs has no interest in getting onto the CD business. Without checking, I believe that this material comes from the same sessions that produced the A&M live album and a live CD on Telarc.

Yes, but the focus of the book is not on jazz. I find it especially helpful in sorting out the studio bands that recorded for ARC, Grey Gull, and the like. I'm going to have to look into the revised version.

Rust addressed this issue with the release of his excellent 2-volume "American Dance Band Discography" about 30 years ago. Sadly, the book is long out of print, and desperately in need up a revision.

The man was a pioneer. I don't know if a day goes by that I don't consult his books.

What they all said - my sentiments exactly!

Apparently Horace was "between" tenor players, so Stanley was brought in as a guest for this session. Since Stanley was already an emerging star, it makes sense that he would have gotten featured billing.

Can anyone comment on these two? I do realise the Scott is off-topic here, but they're both on Candid and from Les Tompkins archives (or so they say) hence I though I'd ask about it here as well. I've got the Tubby. It consists of several long jams, and the sound is good. The tracks with Sal Nistico are excellent, and it's interesting to hear Cat Anderson in this context. The "interview" at the end of disc two is casual, to say the least, but it's nice to hear Tubby and Sal's conversational voices. Recommended.

I remember seeing Jeremy and the Satyrs open for Albert King in 1968. Their album was a disappointment, but live they totally kicked ass! The guitarist/singer who dominated the Reprise album was gone, and, with the exception of a couple of vocals by Sally Waring, they were an instrumental unit.

The man had golden ears.

Marian McPartland (piano) Mary Osborne (guitar) Dottie Dodgion (drums) There was a record (recorded live, I think) by this group in the late 70's. These pictures were probably taken at the concert.

Love the contours of the, uh, car!

Allen, we've parted ways on opinions in the past, but I'm with you here. Loved Roy's playing in the 50's & 60's, but since the 70's he's way over the top, at least to my ears.

Many of these sides were cut in the 1940's. The sound is typical for the era. Actually, I think Rudy's mastering is relatively good.

Edwards was inconsistent - "Experiment in Terror" and "Days of Wine and Roses" are top notch. Some of the later comedies are forgettable. We should always be thankful that he gave Henry Mancini the opportunity to write so much great music!

I saw Beefheart & the Magic Band three times in the early 1970's. To this day I maintain that these shows were among the greatest music I've heard during my life. RIP, Captain.

I've got the Venus original of this - it's hard to go wrong with Cedar!