Jim R

You GOT it!! Great- I was beginning to wonder if you needed to frisk your mailman (or better yet, mailwoman! ). Anyway, I had my moment in the brilliant glare of the BFT spotlight, so I think I'll e you about this. Watch your mailbox... ... not YET! Gimme a few minutes!

I hope you'll enjoy him, Brad. One of those Monk tracks was on my BFT, so I suppose you're getting as forgetful as I am.

Brad, consider that we haven't yet scratched the surface. I think a lot of the people here would dig Joshua Breakstone (if they don't already)... A selected discography: 1983- Wonderful! (Sonora, LP only) 1984- 4 / 4=1 (Sonora) 1987- Echoes (Contemporary) 1987- Evening Star (Contemporary) 1989- Self Portrait In Swing (Contemporary) 1990- 9 X 3 (Contemporary) 1991- Walk Don't Run (Evidence) 1993- Sittin' On The Thing With Ming (Capri) 1993- Remembering Grant Green (Paddle Wheel / Evidence) 1996- Let's Call This Monk! (Double Time) 1999- This Just In... (Double Time) 2000- The Music Of Bud Powell (Double Time) 2001- Tomorrow's Hours (Capri) The earlier recordings for Sonora and Contemporary (with artists like Barry Harris, Pepper Adams, Tommy Flanagan, Jimmy Knepper, and Kenny Barron) are OOP, but worth looking for. When you have a chance, there's plenty of info here: http://www.joshuabreakstone.com/

Nice idea, Brad. Are there more overlooked guitarists than overlooked altoists? I really don't know where to begin. You could almost have a thread for each decade (and even then you might have a long discussion). Some great players already mentioned, and I have to say that it's good to see Billy Bean's name come up. He was very influential on a lot of players, in a sort of "underground" way. He never really found the spotlight, and of course is one of those who gave up playing as a career. The Riverside/OJC "The Trio" album is well worth checking out (and not just to hear Bean- that was a really a nice group, IMO). Barry Galbraith was such a great player. He graces many a session as a sideman, but it's too bad he didn't record more under his own leadership. I recently picked up Hank Jones' Capitol twofer "The Talented Touch / Porgy And Bess", and Galbraith shines on the former (Burrell was on the P&B session). Another great player who was underappreciated for years is Rene Thomas. Fortunately, a lot of his work (both as a leader and sideman) has become available in recent years, and he's beginning to get more attention. Sal Salvador did some very cool stuff (love that solo he took on the Newport film "Jazz On A Summer's Day"). I don't think Barney Kessel (especially his Contemporary recordings) gets enough praise and attention these days. Along with Burrell, a master player who was also a prolific recording artist over a very long period of time. Ed Bickert. Love his work with Paul Desmond. A great player who was highly influenced by Billy Bean is Louis Stewart. A very versatile player who worked and recorded in a great variety of contexts. For those who dig the predominantly single-line oriented style, and who prefer the 50's/60's approach, check out the vastly overlooked Joshua Breakstone, who has been recording since the early 80's. Marvelous musician with a sound that becomes very distinct once you listen for awhile.

My God!... Leave a few for the rest of us!

Ditto!

Get whatever you find on Emarcy. Also... Clifford Brown- Memorial Album- Blue Note RVG Clifford Brown- Memorial Album- Prestige (not sure which one you have) Clifford Brown- The Complete Paris Sessions - Vogue Clifford Brown- Brownie Lives!- Fresh Sound Art Blakey- A Night At Birdland, Vol. 1- Blue Note RVG Art Blakey- A Night At Birdland, Vol. 2- Blue Note RVG J. J. Johnson- The Eminent J. J. Johnson / Vol. 1- Blue Note RVG Sonny Rollins- Sonny Rollins Plus 4- Prestige

Octaves, yes, and impossible chord solos (not to mention the single line solos). I'm not sure I follow you there... As I said above, Wes' more commercial recordings made him better known... but among people with less of a clue about jazz.

This was clearly not my intent although it may seem that way but why one seems to get more recognition than the other. Sorry Brad, I hadn't meant to lump that all on you. Long-time guitar fanatic that I am, it's just something that I've noticed over the years. I distinctly remember a thread like this at the BNBB, and I'm pretty sure there was one at JCS (and possibly elsewhere). I just think it's kind of weird... but I know Grant has skyrocketed in popularity in recent years, so I suppose I understand why it's happening. I love Grant too (really), but there are others (some of them greats) who may get overlooked now and in the future due to all of Grant's pub, IMO. It's interesting, but Grant actually seems to be very appealing to a LOT of folks who really aren't very keen on guitarists in general (it's the BN connection, of course). Burrell made a lot of BN recordings too, but he's recorded for so many other labels in his 50+-year career that he's not as strongly associated with BN as Grant. Some seem to see Wes and Grant as THE "parallel figures" in jazz guitar in the 60's, as if they (alone) were THE major guitarists at the time. I guess that's what irks me.

B-)

It's a good thing. I think you were correct- at least in large part- with that thought. Now, somebody answer my question. Kenny Burrell is just as important (if not more) to some of us!! B-)

The kind of "name recognition" you're talking about is the type that's associated with the average person "on the street". Wes' reputation in the jazz world was already well established (particularly in guitar circles) before he made the choices he did regarding making recordings that would help to feed his large family. I think ztrauq22 hits the nail on the head when he says "Wes' contribution to jazz guitar was immense". Grant's has been important as well, but Wes was already a legend long before Grant's work began to become more widely known. This occured in the early to mid-80's, after the release of "Nigeria" and "Matador" in the U.S., and those two plus "Oleo", "Gooden's Corner" and "Remembering" in Japan. Guitar collectors were clamoring for those LP's, and would often go around bragging about finding these as well as Japanese BN's with Grant as a sideman. When the Mosaic set finally came out, that was the icing on the cake. I agree with most of what's been said here... I love both players. Grant was a great "singer" of songs, and oh so soulful, but Wes was a guitar master (a genius) in addition to being a beautiful musician. These Wes / Grant threads (there have been a few of them over the years on various boards) always strikes me as a little odd. Why do folks always compare these two?

Very cool! This could (have) save(d) me a lot of time.

Continuing the "taking OJC's for granted" theme... I heard the tail end of title track from this on the radio yesterday, and as if listening to somebody's BFT disc, said to myself "WOW- that's fantastic... what IS that? I've got to get that!" I've had it for 10+ years. I spun the whole disc this morning, and was actually startled at how great it sounded- the whole damn thing. I remember being excited to get it, primarily because of the chance to add more vintage Blue Mitchell to the collection, but I don't remember it hitting me this hard at the time. I think this one has always been underrated/overlooked (Brad was the only person to mention it here, as far as I can tell). Mitchell is in great form, as are Timmons and Sam Jones, and Blakey is... incredible.

... ... you mean, that helpless, hopeless feeling of being generally helpless and clueless? ... and hopeless?

If it's from the last Moody reissue on Universal - I haven't yet got that one ... Me neither. I think Al's taunting us now.

NOBODY'S identified this yet? Heck, I thought this would've been the easiest track on the disc! Am I the only one who bought this last year (2004)? You're absolutely right, should be easy to guess, as we probably all bought this and the other two reissues, and filed them away as we thought we knew them .... track 3 from this CD! I find the combination of these two tunes is work of genius, like all of this man's work. That was the "hunch" I referred to. B-) I would have bought both those Ellington discs, but thanks to Al I was also spending money on some James Moody, Horace Silver, Cal Tjader...

Tanks, Doc. I'll have to go back and look again (at the first link- the Google one that was cached, but didn't woik for you). I think there were only two possibilities... Well, I opened up that page again (http://64.233.161.104/search?q=cache:LFZM5...&hl=en&ie=UTF-8), and I had forgotten how LONG that list was. Since this is still technically a guess, I'll go ahead and post the data: #1. "BOOK REVIEW" (Clampett/1946) Looney Tunes-1/5/1946 stars: Daffy Duck rating: B+ sources: video-Daffy!, video-Columbia House Collector's Edition/Welcome To Wackyland, laser-The Golden Age Of Looney Tunes Vol. 1 music: Carl Stalling, "Carolina In The Morning", "Moonlight Sonata", "It Had To Be You", "Lucia Di Lammermoor" notes: Looney Tunes/Merrie Melodies comics, cuckoo clock, alcohol, hell, trumpet, trombone, drums, Little Red Riding Hood, police, Jimmy Durante, Frank Sinatra edits: blue ribbon print #2. "BEWITCHED BUNNY" (Jones/1954) Looney Tunes-7/10/1954 stars: Bugs Bunny, Witch Hazel, Hansel, Gretel rating: B+ sources: video-Bugs Bunny: 1001 Rabbit Tales, video-Columbia House Collector's Edition: A Battle Of Wits, laser-Looney Tunes After Dark music: Carl Stalling, "It Had To Be You" notes: "what's up Doctress?", Hansel & Gretel fairy tale I wonder if the recording of "It Had To Be You" used in these two examples could actually be one in the same...

And like I said, I want a copy of your BFT! I've already read the answers (hence my wanting to get a copy) but I may still guess nonetheless. I mean, it's not like I remember anything I read! When I read that comment (that you wanted a copy of my BFT) the first time you said it, I had Buddy the Elf spring into action. So, there's a good chance it may be somewhere near Texas by now... unless I'm lying. If it actually arrives, please pretend you're surprised, willya? Tanks, Doc. I'll have to go back and look again (at the first link- the Google one that was cached, but didn't woik for you). I think there were only two possibilities... Hmm... while at the store today, I happened to buy a certain Ellington trio CD on Columbia. I also looked at it's "companion", on which Ellington apparently opens each track with a piano part. "Rockin' In Rhythm" was on that CD (which has a word in the title that's the opposite of one of the words in the title of the one I bought, I think). Does this make any sense? (and if so, is this where your version came from?). Just a hunch...

Well, that one I haven't heard in a very long time... but as I recall it's got more of a funk feel to it. I have it on a cassette somewhere, and haven't pulled it out in ages. I think there may be a couple of good tracks on that too, but overall I recall being underwhelmed by it. I'm such a K.B. fanatic, I'd go ahead and buy it if I ever saw it in a lower price range, but I don't think I would pay over $20. With my luck, it will all be out in the U.S. very shortly... Anyway, glad to give the heads up on NIGHT SONG. I hope you guys enjoy it as much as I do.

You have no idea how good I feel knowing you couldn't identify this one! Yeah, you TELL him, Al! Remember the way he humiliated us on his BFT! ===== Re the opener, Al, was I anywhere near the target with that page I linked above? (In other words, was anything on that page anywhere close to being almost close to "warm"?) ... I don't know whether to be or that you didn't do a play-by-play of my guesses. I thought I was at least warm on track 11...

This 1968 Verve title is absolutely one of my favorite K.B. albums of all time. He was at the peak of his playing powers, IMO (his tone is unbelieveable to boot) and the variety of pacing and settings makes this a highlight in his long and wonderful discography. It has never (I can't believe this) been on CD until now, and only out now thanks to the Japanese. I don't buy too many mini-LP discs from Dusty Groove, but even at $22.99, I was ALL over this one. Any serious fan of K.B. needs to buy this. The album is divided up between a couple of different sessions, one a quartet with Richard Wyands, Ron Carter, and Freddie Waits; the other an orchestral setting (Don Sebesky arranging/conducting) with: Bernie Glow- Trumpet Joe Shepley- Trumpet Marvin Stamm- Trumpet J.J. Johnson- Trombone Urbie Green- Trombone Wayne Andre- Trombone Jimmy Cleveland- Trombone Tommy Mitchell- Trombone Jay Sherman- Trombone Alan Raph- Trombone (Bass) Don Butterfield- Tuba Jerome Richardson- Flute, Piccolo Phil Bodner- Flute, Piccolo Hank Jones- Piano Warren Bernhardt- Piano Ron Carter- Bass Billy Cobham- Drums Donald MacDonald- Drums Johnny Pacheco- Percussion Jack Jennings- Percussion Track listing: 1. Night Song 2. Blues for Wes 3. Namely You 4. Love You Madly 5. Just A-Sittin' and A-Rockin' 6. The Shadow of Your Smile 7. Brother Where Are You? 8. Night Hawk 9. Teach Me Tonight

Good catch on that one, Mike. Should have guessed it. Excellent album but one of those leaderless date that has disappeared in the mess that passes for my record collection. Can't remember where I placed my Japanese vinyl reissue of it. Will have to really search for it now that this BFT has reactivated my interest in this LP. And thank you Big Al too for including it! I knew I owned this one. I've had it for many years in this form: http://lead-zepp.cool.ne.jp/p4021jc/06bethlehem.JPG Thanks for the heads up, Al. I should actually play this CD once in awhile.