Jim R

Free for ALL? I thought it was called Free For AL.

Thanks for the report, Mark. Too bad it didn't turn out better, but I suppose this phenomenon occurs all too often. Cork should be a different story, though. I hope you can get there. If so, by all means let us know how it went!

Hmm... I only recall the 10" LP's as being consistently difficult to slide the disc in and out of. Anyway, you could be right, brownie, but for some reason I can't ignore the fact that the original 10" release had this cover: It would seem natural to go first from that to the green tinted one with the same photo, and then to the multicolor. If they didn't... well, they should have! And doesn't Fantasy use the original 12" art most of the time on their CD issues? Oh well, who knows. I used to have all sorts of LP auction and set sale mail catalogs (some of which were from jazz guitar specialists) which may have had info on this, but alas they're all gone now. The good news is, I still have the 10" and that 12" with the multicolored cover. Maybe I'll try to pull it out tomorrow.

$34... Sheesh- I just realized I still have that 12" version stored away. I tried to sell it any number of times (pre-internet) for $10 - $15. There's nothing like selling stuff at auction.

Very good question. I once owned the 12" with the multicolored cover, and I wondered the same thing at the time. However, my hunch was (and is) that the one on the left is the original, because the original release (a 10" LP, which I also owned and still own) has the same cover photo- albeit without the green tinting. It's also the cover Fantasy used for the CD reissue (the green tinted one), which suggests to me it was the original 12" cover. In general, though, there were a number of cases where I had trouble identifying the vintage of various Contemporary releases, due to the lack of any obvious evolution of label/cover design details.

Whoa there! I think that's a fine recording (should be issued on CD for cryin' out loud... Mighty Quinn, perhaps?). ← Sorry. Haven't heard it- I was using the AMG ratings to guess. They didn't like it so much. So it's a good one? ← I'll certainly stand behind it. I'd be curious to hear others' opinions (I forget if it's been brought up on the board before... probably). To give you an idea: Recorded circa 1963 (I'd welcome an exact date here), released on Colpix. With: Art Blakey,Curtis Fuller,Lee Morgan,Wayne Shorter,James Spaulding,Charlie Davis,Julius Watkins,Bill Barber,Cedar Walton,Reggie Workman. I dig the tunes, the arrangements, the solos, everything. The main title, "Theme from golden boy" is better known to most jazz fans as "Night Song" (also recorded by Kenny Burrell, Stanley Turrentine, JJ Johnson, Sarah Vaughan, and more recently by Eric Alexander, to name a few). Great tune. BTW, trusting AMG? What's wrong with you?

One correction- "A Time For Love", the beautiful ballad from the film "An American Dream" and recorded by many jazz artists, was composed by the great Johnny Mandel. I have a xerox of the LP cover/liners, and I see that the error existed on the LP itself. Ironic also that Mandel was mentioned in the liners- but for a different reason. Sonny quoted his "Emily" on the track preceding "A Time For Love". Apparently Petula Clark/Tony Hatch/Vito Pallavicini composed a different tune titled "Time For Love".

Whoa there! I think that's a fine recording (should be issued on CD for cryin' out loud... Mighty Quinn, perhaps?).

I sure do. I only wish it were longer (nice how it segues into "Israel" before returning to the main theme, though). An elegant rendition, by an elegant musician. I especially dig the portion of Eddie's solo where he comps in the upper ranges with his right hand and plays a nice line down low with his left. Drummond and Riley played great on that, too, IMO.

Back in the 80's and 90's, "Stolen Moments" used to get SO much play (recordings by a variety of artists, including a few vocal versions) on KJAZ and KCSM that I got really sick of it. Maybe my impression is simply skewed in the opposite direction, but it seemed to me that this tune was overdone for many years. Personally, I can't stand Mark Murphy, and his version was played to death. Too bad, because I really do think it's a fine composition. In my own collection, I have these versions: Chet Baker- Live / The Meridien/ Tarbes, France- Private Rec. Kenny Burrell- Moon And Sand- Concord Kenny Burrell- Concierto De Aranjuez- Meldac (Japan) Booker Ervin- Structurally Sound- Blue Note (Pacific Jazz) Curtis Fuller- Jazz Conference Abroad- Trip Eddie Higgins- Haunted Heart- Sunnyside Milt Jackson- At The Kosei Nenkin (Vol. 1)- Pablo J. J. Johnson- J.J.! (The Dynamic Sound Of J.J. With Big Band)- RCA Lorne Lofsky- It Could Happen To You- Pablo Today Carmen McRae / Betty Carter- Duets: Live at the Great American Music Hall- Verve Oliver Nelson- The Blues And The Abstract Truth- Impulse Jimmy Raney / Doug Raney- Stolen Moments- Steeplechase Jack Wilson- Ramblin'- Fresh Sound (Vault)

I thought it was the image in post #1...

Mark?... Did you see Knut's post?...

I don't know how many times it's been reissued on CD, but there are at least two. As I said above, my 80's CD version has the Nelson photo cover.

Thanks, Q. Let's see... Willie McCovey comes to mind right away. Vida Blue, too. Hmm... I suck at this. I guess I'd better go look it up.

He definitely got the call wrong, which is unfortunate, but I didn't see it as a "terrible" call. In other words, it's hard to place too much blame on an ump for a split second thing like that, where most people agree he has to rely more on his ears (with plenty of room for error) than on his eyes. At any rate, I understand where you're coming from... it's gotta be frustrating. If I was an Astros fan, I'd probably be saying the same thing. To me, that was just a great game to watch. A few too many blunders (Biggio's drop, the Sox baserunning mistakes heading the list), but a great game nonetheless. I'm with Quincy- I hope this thing goes a full 7. Someone on one of the postgame shows said (if I understood them correctly) that the grand slam was only the 9th in World Series history. I'm thinking either I heard wrong, or they were in error. Can that be right? Even the statement that this was only the 14th walk-off HR in a World Series seems awfully low. ... Which brings me to a question I've always meant to ask here. Is there a good online source (hopefully, easy to use) for stats from baseball history?

Don't have a complete set (I was buying individually... HAD to have the gum, even if it meant ending up with 14 Bruce Brubakers, 12 Gene Brabenders, etc etc)... but I did end up with two Ryan rookie cards. Like a complete idiot, I sold one of them to a friend for $20 back in the early 80's (and I failed to sell the other one when they went into the stratosphere). I don't even know what they're going for now.

Jim, I should have specified... "If you're not an Astros fan, how can you not...". BTW, I saw a lot of the 'Stros back in the same era as you mention (Jimmy Wynn, "the toy cannon" was a favorite). I had to root against them every time, though. ). Plus, I've still got my Topps cards with those guys you menioned... the ones where they blacked out the logos on their caps... '68, I think. What was that all about?

"Old-school"? I had already stopped watching (prime-time/major network) tv by the time that came on. BTW, which one of those 14 cast members is Bobby Hill?

Wasn't TAKE AIM the title that Hardbop was always asking for on the BN board? And wasn't that the title that several people (who had the vinyl) were always telling him was actually not all that great? All a subjective matter anyway, IMO... I'm just testing my memory.

WTF? Something about the World Serious always seems to inspire this stuff! http://www.organissimo.org/forum/index.php?showtopic=14292 BTW, I'm not that interested in either team, but I'm pulling for the ChiSox. How can you not pull for a team that hasn't won a championship for 87 years? (...and if they win, my Giants will move that much closer toward the front of the "It's about time to get a championship" line. )

Here's a link to the Villa site (in english): http://www.villarecords.no/en/index.html

Hi Mark, Welcome. I e-mailed Knut to let him know about your posted question. So... did you get to hear Louis play last night? If so, please tell us about it! Anything you'd care to share regarding Louis would be much appreciated. Thanks.

Jim, first of all thank you for your posts here (ALL of them). I've read your thoughts/perceptions of Nelson before, but the way you've tied it all together here with relation to his Impulse classic is... a great way to spend a Saturday morning. Regardng this "trivia", perhaps it's not so trivial after all. Again, you've provided brain food. I've always thought that the cover you posted was as classic as the recording, but I had never really analyzed it. For me, there's always been some confusion about the cover for this album. The LP that I had was weird, and I parted with it so long ago that I can't really remember it clearly. All I know is that the disc had a promo label, and the jacket was was odd- I think it was backwards, with the cover image on the back side of the foldout. I think. I probably had a rare $2,000 LP . At any rate, the CD I have (MCA, 1986) has the great photo of Nelson (albeit with "MCA Impulse" in front of his forehead). After all these years I had forgotten all about the other cover, and thought of this as the original.

... afaik, there are no other versions (although a few tracks have been out on comps, as discussed in another recent thread about this album).

Note that all the pianists you mention, save Costa, are Los Angelian, at least in terms of "career center". I'd guess that the sources would be equal parts Bud Powell, Horace Silver (who began recording w/Getz in 1950, I believe), Hampton Hawes, a native of the region who was probably independently going, to one degree or another, where Silver was going, and the reinforcement of popular/peer acceptance. I do think that it was a, as you call it, "widespread sound" - mainly a "West Coast" one, and one defined to no small degree by how the piano was recorded on so many West Coast dates from the 50s - stark but warm, w/little or no reverb added to the sound. That dryness accentuated the percussive aspects of the sound. I'll not claim that this is an "answer" to your query, but I too have long noticed that to which you refer, and this has been my take on it. ← Definitely "an" answer, if not "the" answer, and thanks for such a thorough response. I did indeed recognize the L.A. factor, and if not for Costa I would have assumed perhaps an almost exclusive geographic connection going on. I suspect that Hawes is the key guy here, in terms of the specific sound that I'm talking about. I hadn't really considered Bud, although after listening again to some of his trio work last night, I do hear a general influence on the approach of the players in question (no revelation there). And in terms of Horace, I would say almost the same thing, except that he is more directly related to this (IMO) with respect to his phrasing and also his attack. As I said, I think of Hawes as being more versatile stylewise than Costa, Freeman, Williamson, et al (still need to check Castro out further), but when he's in this particular groove, it really brings these other players to mind. I know that Freeman was recording in the late 40's (with Bird, for one), and that Hawes goes back to the mid 40's. Not sure if Costa and Williamson go back quite that far, but I imagine all of these guys were listenting to/influencing each other. couw mentioned Tristano (with whom I'm still not that familiar compared to a lot of other pianists of that era) as a possible influence on Costa. Anybody know about Costa's other early influences? Silver? Might Hawes be one?