Jim R

I don't know what Cadence has, but I can recommend: Everything I Love (IPO) 2002, solo Milano, Paris, New York / Finding John Lewis (Venus) 2002, trio The Piano of Roland Hanna - Easy To Love (Atlantic / Koch) 1959, trio

BTW, note how her outfit (and her hair) match the Organissimo color scheme.

I've seen a clip of her performing a duet with Luiz Bonfa (doing "Manha de carnaval") on an old TV show, and I was quite impressed and enchanted. I already knew the name, but have not heard much of her music over the years. I picked up a compilation CD ("The Breeze and I"), and it's pretty interesting... if somewhat uneven. Even the stuff I didn't particularly like... I gotta give here credit, she had some nerve- and style. From doing just a bit of research, it seems that she was highly respected as a singer by some jazz people (Leonard Feather and Mel Torme, for example), but she sang EVERYTHING under the sun (spoke several languages, I presume). She must have been incredibly popular in europe. (BTW, I'm using the past tense here because I'm referring to her older work from the 50's and 60's, but I believe she's still around (still recording?). The question is, has anybody out there explored much of her work? Any fans of hers? Here's what I would like to find (and no, I'd rather not pay the Amazon price of $40+ ): CATERINA VALENTE & LUIZ BONFA

Oh, of course there are. For example, somebody mentioned Jimmy Bruno (not an overlooked guitarist, BTW) a few posts back. Mark Elf comes to mind. There are many, many others who continue in the more traditional straight ahead/bebop vein. There are still a lot of swing purists too. Hell, there are even thousands of players out there who emulate only Django Reinhardt (there's a whole subculture of Django freaks out there ). I'm sure everybody has heard rock music, but they don't choose to incorporate it into their concept of jazz. It's a big world.

Kermit Washington Tomjanovich, Rudy Punch & Judy

Elmer Gantry Elmo Hope Zelmo Beatty

Maybe it's just me, but I don't quite get why some folks are reading the whole thread before their first post. It's like, are these really your ideas? I'd rather see "blind" responses (that's why it was originally called a "blindfold" test), and I think it would be even more fun for everybody. FWIW... ===== Upon another spin... I need to amend my response to #1. It was the first tenor solo that I found less than impressive (liked the second much more). I'm inclined to go along with Mr. Z (McDuff group with G Benson, not sure on the tenors). I wonder if I was right in any of my comments on #4... seems like the majority agrees that it's Newk. 5 is still weird, but I could believe that's Desmond and Brubeck messin' around with some college students. On #6, I could also believe that it's Kessel on guitar (as suggested above), and yeah, not fully formed yet in terms of style. HEAVY Christian influence still apparent, and only a hint of the string-bending bluesiness that would eventually become so prominent in his solo approach. The scales he plays are relatively basic and predictable as compared to what he would do later, but are not out of character for him in his later work. Or, it could be somebody else. I liked #7 even better the second time around... but this is definitely not the kind of thing that I'm familiar with. I think (unfortunately) that I kind of bypassed a lot of the more soul-influenced players back in the day. Any chance Duke Pearson was involved on #10? (just a thought... without a hell of a lot of thought behind it ). The info posted on #12 was a surprise to me...big surprise, in fact. I never heard of that alternate song title, nor would I have expected those personnel (maybe because I've never known a lot about the composer's background). What's the old saying?... you learn something every BFT?

Not exactly... a generous fellow-board member does.

I'd have to disagree. A different character, a change of pace, you know. I always liked it. I saw them in '73, and Wayne pulled out a french horn for a few numbers. Blew the s**t (spit) out of it, too.

For info on all things organ-related, I would strongly recommend contacting Pete Fallico (a very nice cat, BTW). http://www.doodlinlounge.com/ His e-mail link is toward the bottom of the main page.

Actually, "Young And Foolish" was issued, "Homeward Bound" was not. Also, minor error regarding the catalog #'s. The mono version was UAL 3325, and the stereo UAS 6325. I also have composer credits and track timings, if desired.

I think it's... sound and sense days of wine and roses reggie of chester it could happen to you donna lee ricardo's dilemma romeo out of sight young and foolish well you needn't

Oliver Twist Waltzing Mathilda Tango & Cash

Here goes nuttin... Disc 2: 1. Whoa... like most of disc 1, this one’s new to me too. One can NOT have too much Cannonball (a scientifically proven fact), but I’d have to say that this one doesn’t do as much for me as his Bossa Nova album... but then I’ve never been to Carnaval, and can’t dance, so what the hell do I know. Not really a big samba / extended rhythm party kind of guy, I guess. This is fun in its own way, though, and a heck of a document. No doubtaboutit. 2. Well, this definitely sets a mood... just not the kind of mood I’m generally after. I did enjoy the “middle” part, though (the third minute or so, roughly speaking). Hey, that’s something. 3. “TALT”. Lush. The first thing that popped into my head was “Robert Farnon”. That’s probably wrong, but that’s who I was reminded of, in terms of the sound and the arrangement. Not a favorite tune of mine yet, but this could help to move it up the ladder. As for the saxoffonist, no real clue... yet. 4. EJ, and I do not mean to imply that this is Eddie Jefferson. Now, although I’ve always thought that I do not much care for this singer (this EJ that is, I dig Eddie Jefferson), her voice seems to be somewhat less annoying to me as I listen to this (nice compliment, eh? ). See, I’ve always associated a certain “whiny” sound to her. I still hear it here, but it’s not bugging me as much as usual. Well, maybe there’s hope for me after all. Obvious what the tune is (another one that’s not a fave of mine)... but I don’t know who’s accompanying EJ here. 5. Without A... Clue as to who is playing here (but I do know the tune, and this one is closer to being a fave). This sounds like a post-1990ish recording to me (and I don’t attach any judgements to that automatically, BTW... I can get into Criss Cross just as much as any more venerable label, as long as the music is good). This is good, in my book. I’m dealing with some distractions as I try to listen to this (would somebody tell that guy to QUIT with the leaf blower?) and jot down these notes, but I think I may dig this even more upon further spins. 6. Interesting... at first the tune sounded familiar, but the arrangement has me guessing. This style of playing isn’t my favorite, but it’s fun to be challenged this way, and I find this to be pretty tasty. I’m not a Keith Jarrett fan, but this style reminds me of him. Pretty chords and pretty colors, though, I have to say. Thought I caught some Richard Rodgers-like colors at certain moments... 7. Oooh, yeah. This reminds me of Oliver Nelson, though I don’t recognize it specifically as such. Soprano... soprano... Nelson played soprano too, I believe... but I don’t know this recording. Man, this is fantastic... oh, SHIT- it’s OVER already! Ohhhh, mannnnnnnnnnn!!! That’s just wrong. 8. I remember the first time I heard steel drums (I hope that’s what this is), I was immediately attracted to the sound. I’ve since decided that I like them best in small doses, however (let’s see how long this goes...). Yeah, that was short enough for me. Nice ‘bone work too. I don’t think I’d buy it, but then I’m getting cheaper all the time. 9. Not a style that I’m crazy about, but for what it is, I have to say this is quite well-executed. Was this born out of Sonny’s “Don’t Stop The Carnival” kind of a vibe? I don’t know a lot about this style, obviously. Anyway, too much emphasis here on rhythm for my taste, and 11 minutes is just way too much for me (probably blissful to a lot of folks, though, so I can at least be happy about that ). 10. NECMLFY (better known as NeckUMlify). This is a nice tune... I just wish they had played it a tad slower (fast is fine, but this is too fast for me). I don’t like the screechy style, not by a trumpet, not by a sax, not no way nohow... I do not like them Sam I am. Pretty impressive musicianship, of course (if I could play that fast, I’d probably do it too ). 11. Hey... what the... you didn’t tell us the disc was going to self destruct! RUN FOR YOUR LIVES!!! hmm... at first I was reminded of “My little GTO”, but before I could figure out what it really was, it... just... sped off... Whew, Fun stuff, Jim. The leaf blower’s gone... time to go back to track 1... Thanks to Jim, and also to the antlered one (you know who you are) for sending the discs along.

Well, I've been waiting to post this for about 36 hours, but I was waiting for the green light. DISC 1: 1. HHTM. Ah, taken from vinyl... I wonder if this is a sign of oop things to come (hope so). Very hard swinging (and intensely relaxing) stuff! I like the tightness of this, with the different unison line riffs (one reminiscent of “Four”). Nice touch. I’m not recognizing anybody yet, but the organ and guitar impress/appeal to me quite a bit (moreso than the tenor). The tenor has kind of a rough-edged tone... almost reminiscent of a bari at times, to my ear(s). I like the organist’s sound, and the guitarist has some definite chops- his lines are somewhat Martino-esque in that respect. Great opener to get the juices flowing! 2. Hmmm... I’ll probably be in the minority, but I’ve never heard this before. Sounds a lot like Pops, but then some people are good at mimicing (mimicking?) that voice. Oh well, it’s a lot of fun regardless of how clueless I am. Now I’m hungry for dessert, and I it’s almost dinner time. 3. Although not really my bag, this sounds kind of familiar... almost to the point of deja vu, in fact. Seems like somebody (Mr. Weil, perhaps?) included a very similar track in a previous test. I like this quite a bit, although I have to add that if it had gone on longer, I might have tired of it. But it didn’t, so no complaints. Sometimes a quick 2:20... get in, make your point, and get out... is a good thing. Nice bari sound on this. I don’t favor that instrument much in terms of my listening habits, but this player’s sound strikes me as more appealing than average to my ears. 4. Unmistakeable tenor sound and style, right from the first note. I haven’t explored as much of this master’s later (or shall I say “post-golden era”) period from whence this comes, so it’s not highly familiar to me. The personnel aren’t going to pop into my head without a lot of thinking (cheating ). Damn, I think perhaps Jim just recently may have posted something about this band, or maybe even this album. The Master schooling the pupil ( the other saxophonist) was one of the points he touched on, and I kinda sorta almost can hear that going on here... but that’s going out on a limb. Anyway, is that Bob Cranshaw on bass guitar? 5. GWTW. Never heard this before either, but it seems like maybe I should have. The sort of thing people would talk about... unless Jim has the only existing copy. GREAT spontaneity on this... funny... the crowd responses almost sound like they were dubbed in later (seems kind of uneven). At any rate, I find this both interesting and mysterious. The “whoops”, the apparent tone problems near the beginning, the odd phrase which draws laughter (!) from the audience, the “sorry”... just a real oddball of a track. But fun(ny). With all the flaws (hmm... maybe intentional?)... it’s surprising that it survived onto wax... I couldn’t help but think of Brubeck a bit during the piano solo, and the instrumentation of this group being the same... but it’s not the DBQ... so... ??? 6. I don’t recognize this, either. Variations on “The Man I Love”, that’s all I know for certain. This has a JATP jam sound to it... wow, quite an extended geetar solo. From the setting, I would have expected this would be Les Paul, but this player sounds... slightly hipper somehow, or maybe I haven’t listened to enough Les (and to be honest, I haven’t). I could throw out a few likely JATP names as candidates for the other spots, but since I really don’t know that scene very well, I’ll leave this to somebody else. Nice, though. I enjoyed it. 7. Cool... sweet AND soulful. Nice arrangement. Has what I think of as an “optimistic”, “open-minded” early 70’s kind of fusiony eclecticism. Somebody along the way probably told them they couldn’t mix together those particular elements that way... but it works pretty nicely (for me), and I have some fond memories of that period in music. Not familiar enough guess, though. 8. Pretty tasty. I don’t recognize anybody right off the bat. For me it kind of stumbles exiting the gate, but it picks up some momentum along the way. The singer has a nice controlled sound... but it’s unfamiliar. I prefer the tenor on the right (? I think) channel (not the one who plays first). 9. Now THAT is a kick in the ass!! Good thing I had my back turned. Unmistakeable band, at least in terms of who’s at the controls (and for me, the tenor soloist is unmistakeable). Sounds like early 60’s... ish. This tune isn’t in the band’s Roulette discography, so it must be from another label... and what label that might be is out of my mind’s reach, because I never really picked up much of their (or any big band’s) vinyl during my years as a hound. Took me until the CD era to decide to get more serious about listening to big bands. Anyway, it sounds like the 60’s to me... I remember hearing that tune on TV a lot as a kid. I want the whole damned LP now (on CD, of course ). 10. The tune reminds me a bit of “Tanya”... but of course it’s not. To me, this too has a late 60’s / early 70’s vibe, in terms of the style and arrangement. I’m out of my league in terms of ID-ing this, but I like it. 11. HF... very short and sweet. Nice... but again I don’t think I’ve heard this particular version. I think I’ll come back to this one. 12. Yeah, a Chick tune for PC users... a tune I’m always growing more and more fond of (although I use a Mac). [Note to self: start working on a chord sheet already! I wanna play this tune!]. I like the drummer on this... reminds me of Max. Tasty playing by all concerned, including the Tyneresque piano. Another short and sweet one. 13. ... Is that Duke? with a celeste? Very elegant, very sophisticated... and very foreign (again). What can I say, I just haven’t collected much EKE. 14. First, a question: How did we get from THIS to the kind of crap that is now being labeled as “R & B”? Anyway, good stuff, and this one never crossed my path either (and as I said in RDK’s discussion thread, I still need to seek out more of this kind of stuff... I’m woikin’ on it, Ray ). 15. TAT (no, not Today’s Active Topics)... the original TAT, not to be confused with... well, you know. Cyndi Lauper, etc. Ordinarily, this is one standard ballad that I don’t particularly like to hear given the soul treatment (I guess I’ve heard a few too many bad attempts), but this one works for me. Mr. S.T. and Mrs. S.S., right? Impulse? When it comes to his kind of tenor playing, this is my guy, hands down. 16. A word from our sponsors? Can’t wait to hear the story behind this one. 17. Love the tune, but I’ll need time if I’m gonna love the singer (not to say it couldn’t happen, but it’s not love at first sound... for me at least). Man, if disc 2 is half as much fun as disc 1, I’ll be 50% as happy by this time tomorrow as I think I am right now... wait... Ah, never mind. Thanks for this excursion into the mind of a TW0-time (two-timing?) BFT regional championship finals frontrunner and all around good groove guru! Oh, and thanks to you too, Mark, for legally forwarding the pass... or whatever it was you did.

I've been crying for a Mastersounds set for a long time. I know they're too laid back for some, but they're not THAT laid back. I enjoy them a great deal. Sometimes I wonder about M.C.- he didn't like Joe Pass' SIMPLICITY album, either, which I think is very worthwhile.

What a coincidence. I was just going to search for this thread. I received my copy in today's mail, and it looks beautiful (can't wait to read it). Just going through the first couple of pages took my breath away.

The rest of which are on "Groove Brothers." Right. That CD contains THE MONTGOMERY BROTHERS IN CANADA and the aforementioned Fantasy LP, THE MONTGOMERY BROTHERS. Looks that way. I was surprised when you said FAR WES was still in print (FINGERPICKIN' was issued much later). But I have no idea if that's correct.

Right, but referring to them as among "the first four albums" and placing the original dates next to them makes it look like they were originally issued as LP's with those titles. This is standard procedure for AMG, which will forever cloud things for a lot of people. Don't forget about DANGEROUS (Milestone 9298), which includes 6 tracks previously issued only in Riverside box set; and 3 previously unissued tracks from "The Montgomery Brothers In Canada" session. Also, there's the 1961 Jorgie's material, which has been released on CD at least a couple of times (VGM, Magnetic).

Oh, don't get me wrong- I'm not trying to scold anybody. In fact, I don't necessarily disagree with chuckyd4... I'm just wishing everybody was "on the same page"...

Is it just me, or are people continuing to post to the discussion threads...?

A few facts (which you'd never get from perusing AMG): FINGERPICKIN' and FAR WES were not PJ albums. Those are the titles (taken from song titles) of two 1990's CD's which reissued World Pacific material by The Montgomery Brothers. KISMET was a Mastersounds LP on World Pacific, on which Wes appeared. "THE MONTGOMERY BROTHERS" was never a title used on WP or PJ (it was used as a title for a Fantasy LP). The original albums by the MB's were: THE MONTGOMERY BROTHERS AND FIVE OTHERS (World Pacific 1240) MONTGOMERYLAND (Pacific Jazz 5) WES, BUDDY AND MONK MONTGOMERY (Pacific Jazz 17)- a reissue of WP 1240.

Hmm... I wonder if you addressed it to "Ray & Irwin's Garage". Or is that still standing?