Jim R

Two of my favorites, both far too overlooked, imo. More: Louis Stewart: BUY this!! Mark Elf: http://www.jenbayjazz.com/international.html Oh, what the hell... Howard Alden Misterioso Concord Howard Alden A Good Likeness Concord Elek Bacsik The Electric Guitar Of The Eclectic Elek Bacsik Mercury (Fontana) Billy Bean The Trio "Rediscovered" String Jazz Billy Bean The Trio Riverside Joe Beck Girl Talk Venus Ed Bickert Ed Bickert PMR (LP) Ed Bickert At Last Mambo Maniacs Ed Bickert Out Of The Past Sackville Ed Bickert The Guitar Mastery Of Ed Bickert DSM Joshua Breakstone 9 X 3 Contemporary Joshua Breakstone Remembering Grant Green Paddle Wheel Joshua Breakstone Let's Call This Monk! Double Time Joshua Breakstone The Music Of Bud Powell Double Time Joshua Breakstone Tomorrow's Hours Capri Ronnell Bright (Kenny Burrell) Bright's Spot Savoy (Regent) Ray Brown Trio Ray Brown, Monty Alexander, Russell Malone Telarc Jimmy Bruno Burnin' Concord Kenny Burrell A Night At The Vanguard Argo Kenny Burrell Tin Tin Deo Concord Kenny Burrell Handcrafted 32 Jazz (Muse) Kenny Burrell When Lights Are Low Concord Kenny Burrell At The Village Vanguard (Muse) Kenny Burrell Laid Back 32 Jazz (Muse) Kenny Burrell Moon And Sand Concord Kenny Burrell Listen To The Dawn Muse (32 Jazz / Japan) Kenny Burrell Groovin' High Muse Kenny Burrell Lotus Blossom Concord Greg Chako Everything I Love Chako Greg Chako Sudden Impact Chako Dave Corbus Trios Time Synergy Mark Elf Elf / The Mark Elf Trio,Vol. 1 Half Note Mark Elf Mark Elf Trio Alerce Mark Elf Live At Small's Jen Bay Mark Elf New York Cats Jen Bay Mark Elf Over The Airwaves Jen Bay Ron Eschete Mo' Strings Attached Concord Ron Eschete Rain Or Shine Concord Ron Eschete Soft Winds Concord Tal Farlow The Swinging Guitar Of Tal Farlow Verve Tal Farlow Tal Verve Tal Farlow At Ed Fuerst's Xanadu Tal Farlow A Sign Of The Times Concord Tal Farlow Tal Farlow '78 Concord Tal Farlow Chromatic Palette Concord Klaus Flenter The Trio Limetree Heiner Franz A Window To The Soul Jardis Heiner Franz Gouache Jardis Barney Kessel The Poll Winners Contemporary Barney Kessel The Poll Winners Ride Again ! Contemporary Barney Kessel Poll Winners Three ! Contemporary Barney Kessel Poll Winners Exploring The Scene Contemporary Barney Kessel On Fire Venus (Emerald) Peter Leitch On A Misty Night Criss Cross Peter Leitch Trio / Quartet '91 Concord Peter Leitch Up Front Reservoir Lorne Lofsky It Could Happen To You Pablo Today Eddy Louiss Eddy Louiss Trio Dreyfus (CY) Horace Parlan Trio (Doug Raney) Hi Fly Steeplechase Joe Pass Intercontinental MPS / BASF (Japan) Bucky Pizzarelli Green Guitar Blues / The Cafe Pierre Trio Audiophile Jimmy Raney Momentum PAUSA / MPS Jimmy Raney The Influence Prevue (Xanadu) Jimmy Raney Live In Tokyo Prevue (Xanadu) Jimmy Raney Wisteria Criss Cross Jimmy Raney But Beautiful Criss Cross Gray Sargent Shades Of Gray Concord Reg Schwager Resonance Justin Time George Shearing (Louis Stewart) 500 Miles High MPS / Pausa George Shearing (Louis Stewart) Windows MPS / Pausa George Shearing (Louis Stewart) Getting In The Swing Of Things MPS / Pausa George Shearing Trio (Louis Stewart) Paper Moon Telarc John Stein Interplay Azica Louis Stewart Overdrive Hep Art Tatum (Tiny Grimes) Trio Days Le Jazz (Charly) Martin Taylor Taylor Made Wave Martin Taylor Skye Boat Concord John Wilkins Strollin' Brownstone

1. Rocker 2. Autumn In New York 3. Godchild 4. The Lady Is a Tramp 5. It's Only a Paper Moon 6. My Shining Hour 7. All Across the City 8. While We're Young 9. Last Night When We Were Young Looks good to me.

No wonder it was such a bitch trying to find nice sides at all those suburban garage sales over the years.

Cool- thanks for the heads up!

Jazz was dominant commercially? R&B "took over" in the 60's? wtf...? Generally speaking, it takes TIME for songs to become standards. Sampling tunes from musicals/films was being done for YEARS before R&B existed. And jazz musicians have traditionally preferred more complex changes to work from. The blues had been there all along in jazz, and thus much of the rock and R&B lexicon (the blues element) was there already. Regardless of all that, you talk as though the genre of "rock" has been completely ignored by the entire world of jazz, which is ridiculous. I think that things tend to evolve naturally over time. I think musicians will do what they do, irrespective of how much attention they get from writers and critics (I don't buy your assertion that the writers and trustees are the all-powerful beings you make them out to be). The chips will fall where they will.

What??? I don't follow you at all. Are all jazz versions of those tunes vocal interpretations? Do they all use the original chord changes? No. As far as I remember, Frank Strozier didn't try to sing like Marvin Gaye when he recorded "What's Goin' On". I don't know Strozier's version of "What's going on". All the versions I've got sound to me like they use the original chord changes and the same rhythms. Some are vocals. That's also true of "Please send me someone to love". I don't have jazz vocal versions of the others I listed, which is not to say that they don't exist. Oh, come now, MG. You can't be so centered on soul jazz that you don't realize that all kinds of jazz artists will do all kinds of things with R&B tunes in addition to every other kind of tune. I'm not questioning your taste, but... doesn't it seem obvious that everything is "fair game" in terms of experimentation in jazz? I don't even have a list prepared to counter your apparent position, but it just seems like such a given. Even if we take into account the improvisation that occurs in R&B, a jazz artist isn't going to copy the solos note for note. Obviously, there are going to be many instrumental interpretations of tunes that originally had vocals. Am I not grasping your point? Uh... they were written and performed by non-jazz musicians? Well, that was the general point. Differentiating between standard tunes created within the jazz realm ("jazz standards") and standard tunes that began life in another genre. Of course, the distinctions will not always be 100% easy and clear. I don't know about a prejudice... I just know you live in your own little obsessed world. Seriously, though, it might be interesting to study your complaint... I suspect you're over-reacting a bit, but I'm too tired to do the research right now. Yes, I think I understand your point there. That's part of the reason I say that the distinctions will not always be 100% clear. Good question. That was more Mike's point than mine, but I don't think of the world of "Blues" as "mainstream" in any way. In terms of "R&B", I feel the same way, except that the way the term is used today (recordings that no longer have any connection to the blues), it refers to a more mainstream music.

What??? I don't follow you at all. Are all jazz versions of those tunes vocal interpretations? Do they all use the original chord changes? No. As far as I remember, Frank Strozier didn't try to sing like Marvin Gaye when he recorded "What's Goin' On". Uh... they were written and performed by non-jazz musicians? I don't know about a prejudice... I just know you live in your own little obsessed world. Seriously, though, it might be interesting to study your complaint... I suspect you're over-reacting a bit, but I'm too tired to do the research right now.

There. Do you see your mistake? Mike's "Etc." would include R&B, Rock, Bossa Nova... you name it, so long as the pattern fits. I get frustrated when people refer to "The Girl From Ipanema", "Corcovado", and "Wave" as "jazz standards", because I've spent considerable time and energy studying Jobim's music and Bossa Nova in general. It's not JUST about broadway tunes. I know this is all about semantics, and those who don't care are free to ignore this, but it still makes perfect sense to me.

The Jazzstandards.com site is a terrific resource, and it's been mentioned here before, but... Once AGAIN... re "standards" vs "jazz standards" (and I'll quote Mike Fitzgerald instead of my own post from the same 2005 thread... http://www.organissimo.org/forum/index.php?showtopic=20423 ): "Generally" speaking, both standards and jazz standards are part of the repertoire of jazz musicians. So are originals, so are collective improvisations, etc. But there are fairly easily made distinctions that I believe are helpful in the discussion. Broadway tunes have a life outside of their jazz interpretations. These jazz versions are invariably alterations - they've been "jazzed" up. Harmony and melody and rhythm are NOT the same as what the composer wrote. You can find examples of jazz guys doing the same thing to folk tunes, classical pieces, etc. Sonny Rollins did compose what quickly became jazz standards - Oleo, Doxy, Valse Hot - but his interpretations of Broadway tunes doesn't all of a sudden make those tunes into jazz standards. "There's No Business Like Show Business", by virtue of its birth, will remain something borrowed from a non-jazz world, a standard, never a jazz standard. Jazz standards are designed to be jazz tunes right from the start. They've got the appropriate harmony, melody, and rhythm. They're written by jazz musicians. I'm definitely not the only one to make this distinction. It's addressed in New Grove under "standards". Very few pieces that can prove jazz "pedigree" have become "regular" standards. We've discussed this here (and elsewhere). Some pieces by Ellington, Waller, Legrand, Mandel - not many jazz guys have been able to cross into the true mainstream. Mike

Many many moons ago, I remember seeing a young Wynton Marsalis on a stage, fielding questions from an audience on a show hosted by Tony Brown (or perhaps Ramsey Lewis). Somebody asked him what he thought of Washington. The context was "jazz", and Wynton went on a rampage about Washington being an instrumental pop artist, as though that were a felony. I never paid a lot of attention to Grover, never bought the LP with Burrell despite my tendency to buy anything and everything with KB on it. Some years later, somebody sent me some miscellaneous stuff on vhs which included a live performance with Washington sitting in with (I think I have this right) Lou Donaldson's band. Entirely not bad... a lot more interesting than anything I'd ever heard Wynton play.

The JAM LP issue is indeed kind of cheesy looking... but I never had any complaints re the pressing/sound quality. The Discomate issue I had only a vague recollection of hearing about years ago, so I Googled. Found it here: http://homepage3.nifty.com/mrmanri/Etc/analogto.html Pretty interesting page to peruse. Has Curtis Fuller's "Fire And Filligree" (Beehive) ever seen daylight again?

What if Mozart's armpit was a warm snifter of brandy?

Here's the latest video posted at Loronix: Oscar Castro Neves / Aguas de Março (Waters of March) One of the great Brazilian rhythm guitarists, this time accompanying his own vocals. This tune always seems so "simple" on the surface, but check out the harmonies... and the rhythmic tension he creates with the guitar and vocals. Sweet tone, too. I could listen to this guy for hours. Maybe some of you had seen this already on the tube... I haven't paid much attention to those Ramsey Lewis shows (actually they were only aired a couple of times here).

I'm not partisan here but Milan were diffident first half, then lucky, second half better but hardly entertaining unlike Liverpool I don't know about "entertaining" (I was pulling for Liverpool, and the way they were wasting opportunities- particularly in the second half- had me talking to the tv set ), but just look at the way Milan beat the trap and finished on that second goal. Perfect run, perfect weight on the through ball, neat finish. The Reds may have had the better of the possession for most of the match, but they simply never looked very dangerous in the final third. In the late stages, they were downright careless on several occasions. I don't find that entertaining. Kewell was a real disappointment, I thought.

Liverpool were sloppy toward the end, both in the attack and in defense. They were generally dismal in the attack in the second half. Milan showed a lot of skill and poise, even if the goals weren't great.

Warriors were #8.

the Raymond that everybody loves the Bill Evans that everybody digs the Hampton Hawes that everybody likes

There's a 2CD set of 'Sarah Swings The Tivoli' (the Copenhagen set) which runs about 2 hours, so I suspect it has previously unreleased material on it. It is not expensive, and is fairly readily available. That's a MUST HAVE. I didn't mention it, because it's all been released in the U.S. (I have it in the Mercury boxed set).

Oh, I'm sure there's nothin' wrong with the game. Just lookin' for an opportunity to diss Gooden's "hair". Plus, I'm still trying to recover from the Warriors bowing out. I'll probably pay closer attention when the 4th Q rolls around.

I've got this on in the next room, but I'm not really watching it. Still can't deal with Drew Gooden's 'do.

The Pye (England) late-70's double LP "Ronnie Scott's Presents Sarah Vaughan / Live" was issued on CD circa 1991 on the Ronnie Scott's Jazz House label as "Sassy At Ronnie's". 3 tracks had to be left off the CD. June 10 & 11, 1977 Carl Schroeder (p), Walter Booker (b), Jimmy Cobb (d) 1. Here's That Rainy Day 2. Like Someone in Love 3. I'll Remember April 4. Sophisticated Lady 5. If You Could See Me Now 6. A Foggy Day 7. I Cried For You 8. Gershwin Medley: (But Not For Me / Our Love Is Here To Stay / Embraceable You / Someone To Watch Over Me) 9. The Man I Love 10. My Funny Valentine 11. Passing Strangers 12. Blue Skies 13. The More I See You 14. Early Autumn 15. Tenderly -------------------------- In 1999, the Canadian label Justin Time released the CD Sarah Vaughan "In The City Of Lights". November 2, 1985 Frank Collett (p), Bob Maize (b), Harold Jones (d) hi fly,summertime,just friends,wave,on a clear day,if you could see me now,i've got the world on a string,fascinatin' rhythm,but not for me,our love is here to stay, embraceable you,someone to watch over me,there will never be another you,misty, my funny valentine,from this moment on,send in the clowns,sassy's blues,tenderly, scat chase,once in a while ---------------------------- Finally, I have a Vaughan CD which is on a U.S. label (Hindsight) but was manufactured in Canada- "Soft & Sassy", from 1993. Recorded in L.A. for "The Navy Swings" series of public service radio programs; Previously unreleased. Recorded 1961 Roland Hanna (p), Richard Davis (b), Percy Brice (d) sometimes i'm happy,i cried for you,out of this world,you're blase,serenata,over the rainbow,say it isn't so,stormy weather,all of me,how long has this been going on,day in day out,tenderly,what is this thing called love,summertime,poor butterfly, i'll be seeing you

A.C. Reed D.C. Cooper J.D. Power and Associates

Guy, I agree with you re Jackson. The problem is his mouth, and his lack of control. He's a lot like Sheed in that respect (not as bad, imo, because he veils his whining by going on and on and on with his complaints- but in a more calm way). I also agree that we wouldn't have done what we did this year without him. But like I said (and you seem to agree), IF we can replace his performance and numbers by getting somebody without the issues, we'll be better off in the long run. Like I said, easier said than done. Who knows, maybe he'll gradually mature. Harrington's okay. I'd say he's expendible too, but I'd sooner get rid of Jackson. I'd like to see Al stay and let's see if he improves his weaker areas (and if we get to the playoffs again, whether he can be a more consistent contributor). I've got this weird feeling about this team, in terms of wondering if they'll ever get beyond what they accomplished this year. Baron is no doubt a great player, but he's got some issues as well (health; and to some degree, temperament). I'm not saying we should try to move him, I'm just a little bit worried about his long-term future. Hopefully he can stay healthier. Also, JRich... I dunno... an extremely talented player, but will he ever become a consistent go-to guy in BIG games. A guy who can not only deliver physically, but make good decisions. I'm not entirely convinced, and I've wondered about this for a long time, even after seeing him choke up in pressure situations in close games during the regular season. It's probably not entirely fair to judge him after one playoff run, and I know the whole team was gassed by the time we got into those last two games against the Jazz, but I think the jury is still out. Anyway, just thinking out loud... I'm not suggesting a major restructuring or anything. The bottom line for me is, this team is more FUN to watch than they've been in a long time.

I hear ya. First of all, I don't blame you for sticking up for him in the sense that he's a proven star defensive player (he can win a game with a 3 too, as we saw the other day). To me, his defensive prowess and his "playing hard" is totally separate, completely separate, from the complaints being aimed at him. Two different things. I see no reason why he couldn't continue to excel defensively- to the same level- without resorting to the cheapshot stuff. I think the reason Bowen hasn't been seriously penalized (yet) is that- as I said above- he's subtle. Hell, I might as well admit it- he's GOOD at getting away with dirty stuff. I'll freely admit that it's somewhat subjective, but I don't have any doubt in my own mind that the kick to Stoudamire's achilles was intentional. Watch it at normal speed, and it's tough to figure out how he could pull it off so well. It really happened fast. Watch it in slow motion, and it's pretty easy to see (imo) that he's doing it intentionally. The plays where he puts his foot under people who are up in the air... that's subtle too. It's kind of a grey area when that happens. But when it keeps happening over and over, red flags need to go up. The Sczerbiak thing is kind of mind-boggling. That's one of the dirtiest things I've ever seen on a basketball court. I don't remember ever hearing about it, and I don't know how long ago it occurred, but... there it is on film. If he wasn't punished then (and I'm not suggesting that he wasn't- I just haven't heard about it), he at least deserves to be scrutinized all the more for the things he's done lately. The big picture. With the Stoudamire incident and then the knee to Nash's groin occuring so soon after, I'd say the guy better watch his "step".