Jim R

eric, that's almost like asking me to give an example of Red Garland playing a block chord. B-) I don't have any specific examples in my brain at present, but trust me- Desmond was a master, and quotes are all over the place in his playing. Here's a quote I just found from doing a quick Google search (from an essay by Peter Keepnews)... Desmond also admired the narrative aspect of Parker's art, as he said in the radio interview: "You do always have a story to tell. it's one of the most impressive things about everything I've ever heard of yours." In performance, Parker told stories in part by sending musical messages to his friends and acquaintances in the audience by quoting the melodies of various songs. Desmond was also a master of the creative musical quotation, raising the possibility that he was inspired by Parker in this regard... ...Among the things Desmond and Mulligan shared was a penchant for the apt and expertly placed musical quote-that is, for leavening an improvisation with a few measures of a familiar melody-and there is some expert quoting to be found here. Judy Holliday, the great comic actress who was Mulligan's significant other at the time, gets the credit for naming The Blight of the Fumble Bee, but it was Mulligan's insertion of an off-the-wall light-classical quote into a jaunty up-tempo blues that inspired the name. And speaking of actresses named Judy, Desmond seems for some reason to have had old Judy Garland movies on the brain in the summer of 1962-how else to explain his allusion to On the Atchison, Topeka and the Santa Fe in the heat of his byplay with Mulligan on All the Things You Are, followed immediately by a few bars of The Trolley Song? This subject is one that I've always meant to research more. I'll see what else I can find...

Not a simple question. To me, it's not so much about how often a player does it, but how well they do it. It can be an art form unto itself. Dexter's name always comes up, because he tended to do it (although often very skillfully) frequently, and overtly. The thing is, he repeated so many of his favorite quote tunes that it could get to be almost too much of a joke sometimes. That's one negative for Dexter's quoting style. On the other hand, he was a master at taking a quote and wringing the shit out of it harmonically and rhythmically. If he didn't play it straight first, then it could be pretty adventurous. I think the real intrigue and joy of it comes from the subtle approach, where a player sneaks in quotes (or allusions) of relatively obscure tunes (I agree, the "pop goes the weasel" type are pretty useless). The more of a tune cat one is, the more intriguing the game can get. Let's face it- we all probably have a LOT of quotes go right over our heads, because nobody knows every tune in the book. That's one thing about listening to someone like Paul Desmond (who also did the harmonic variations on his quotes). He was so damned sophisticated, I think a lot of his ideas have to be explained to people (including myself sometimes). And of course, Bird was also legendary for his quick wit and vast reservoir of material to draw upon. At any rate, I think this really is an art form, and should be considered very carefully, despite the abusive approach taken by some players who are less creative and sophisticated in doing it. Here's a little trivia question: what tune did Wayne Shorter quote in his solo on "Up Jumped Spring" (master take) from Blakey's "Three Blind Mice"?

For the record... From the 1988 edition, page 83: ART BLAKEY'S JAZZ MESSENGERS: Lee Morgan (tp) Hank Mobley (ts) Bobby Timmons (p) Jymie Merritt (b) Art Blakey (dm). Hackensack, N.J., March 8, 1959 tk.5....Jimerick...............unissued tk.10...Quick trick..........- tk.14...Hipsippy blues.....- tk.15...M and M.............- tk.19...Close your eyes...- tk.21...Just foolin'..........-

Jim, thanks for sharing that, and please accept my sincere condolences. Always good to have a reality check once in awhile... here I was feeling down because the Giants didn't win the NL wild card...

... I guess my attempt to respond in the character of Wayne Campbell failed, then. BTW, it all began on Saturday Night Live. The film came later, after the success of the recurring "Wayne's World" sketches on the TV show...

Yeah- a very nice album that was discussed in the AOTW forum earlier this year: Cannonball - Quintet Plus

Craig, what version(s) of IE are you using? With our original browser software (AOL, which I believe used IE 4?), there is a "Toolbar" option under preferences which offers a choice for clearing the history trail at each signoff. I don't see anything similar for cookies, however. With IE 5.1.7, which is what I'm mainly using now, I don't see any obvious preference settings that would explain this.

I'm still thinking about the original question(s), BTW. I agree with what John said. There are many factors to take into account, and ultimately everybody will have their own areas of focus as well as their own personal favorites. The piano is such a monster instrument in terms of its potential for allowing a player to create a great variety of sounds and moods. I do like players who take full advantage of that, but I also appreciate subtlety and a relatively soft touch. Understatement, as opposed to the kind of high volume and flamboyance that the instrument also makes available. Having said that, however, I do want to mention Art Tatum. Like a lot of folks, I prefer him in measured doses, but one can not overstate his virtuosity and impact. One thing about this topic that always puzzles me a bit is the relative scarcity of solo piano recordings. I don't mean that to sound too general. What I mean is that considering the potential for individual performance and expression that the instrument provides as compared to other instruments, it always surprises me that there aren't more solo piano recordings out there. It's also true in terms of the history of guitar recordings, for example, but it's so much more difficult to create solo arrangements on the guitar. Obviously, it's more of a challenge to play solo piano than with a trio, but that challenge seems to be more intimidating to a lot of great players than I would have expected.

Not worthy!? But you demonstrate a most admirable... might I even say, enviable excellence in thread conception, my piano-loving friend. rauq on! (oh, that ending was weak... sorry).

For anybody that's hip to "Today's Active Topics" (and chooses to use it), this whole discussion is unnecessary, right? I still don't quite understand why people hop from forum to forum, looking for topics, unless there are multiple forums that they have no interest in (?). T.A.T. seems so much easier, and allows you to keep up with everything chronologically. With the link that's on the bottom of every page at this board, it's truly easy to navigate that way. I forget if I'm in the minority on this... anyway, just an observation, fwiw.

Allow me to fill your table out a bit... B-) Joanne Brackeen 1989 Live At Maybeck Recital Hall, Vol. 01 (Concord 4409) thou swell,dr. chu chow,yesterdays,curved space,my foolish heart,calling carl,i'm old fashioned,strike up the band // + the most beautiful girl in the world,it could happen to you,african aztec Dave McKenna 1989 Live At Maybeck Recital Hall, Vol. 02 (Concord 4410) dream dancing,detour ahead,exactly like you,i'm glad there is you,i'm glad i waited for you,teach me tonight,school days,an apple for the teacher,i didn't know about you,c jam blues,limehouse blues,i didn't know what time it was,i wish i knew,i don't know enough about you,i don't know why,you'll never know,i never knew Dick Hyman 1990-02-14 Live At Maybeck Recital Hall, Vol. 03 (aka "Music Of 1937") (Concord 4415) introduction,where or when,a foggy day,bob white,someday my prince will come, the folks who live on the hill,bei mir bist du schon,loch lomond,thanks for the memory,in the still of the night,my funny valentine,caravan Walter Norris 1990-04 Live At Maybeck Recital Hall, Vol. 04 (Concord 4425) the song is you,round midnight,waltz for walt,scrambled,it's always spring,body and soul // + the best thing for you,darn that dream,modus vivendi Stanley Cowell 1990 Live At Maybeck Recital Hall, Vol. 05 (Concord 4431) softly as in a morning sunrise,stompin' at the savoy,i am waiting,nefertiti,jitterbug waltz,stella by starlight,i'll remember april,lament,out of this world,django,big foot (aka air conditioning),little sunny,autumn leaves,cal massey Hal Galper 1990 Live At Maybeck Recital Hall, Vol. 06 (Concord 4438) whisper not,it never was you,all god's chillun got rhythm,a kiss to build a dream on ,willow weep for me,the touch of your lips,bemsha swing,detour ahead,airegin John Hicks 1990-08 Live At Maybeck Recital Hall, Vol. 07 (Concord 4442) blue in green,all of you,after the rain,speak low,heroes,duke ellington's sound of love,oblivion,contemplation,straighten up and fly right // + blues for maybeck recital hall,rhythm a ning Gerald Wiggins 1990 Live At Maybeck Recital Hall, Vol. 08 (Concord 4450) yesterdays,my ship,all the things you are,night mist blues,body and soul,easy to love,you're mine you,i should care,don't blame me,take the a train,berkeley blues, lullaby of the leaves Marian McPartland 1991-01-20 Live At Maybeck Recital Hall, Vol. 09 (Concord 4460) this time the dream's on me,a fine romance,willow weep for me,twilight world, clothed woman,prelude to a kiss,theme from piano jazz,easy living,things ain't what they used to be,i should care,my funny valentine,turn around,it's you or no one,i'll be around // + the duke,love you madly Kenny Barron 1990-12-03 Live At Maybeck Recital Hall, Vol. 10 (Concord 4466) i'm getting sentimental over you,spring is here,well you needn't,skylark,and then again,sunshower,witchcraft,bud-like Roger Kellaway 1991 Live At Maybeck Recital Hall, Vol. 11 (Concord 4470) how deep is the ocean,i'm still in love with you,love of my life,close your eyes,new orleans,my one and only love,creole love call,i'm getting sentimental over you Barry Harris 1990 Live At Maybeck Recital Hall, Vol. 12 (Concord 4476) it could happen to you,all god's chillun got rhythm,she,cherokee,gone again,lucky day,it never entered my mind,meet the flintstones,i love lucy,would you like to take a walk // + i'll keep loving you,parker's mood Steve Kuhn 1991 Live At Maybeck Recital Hall, Vol. 13 (Concord 4484) old folks,solar,don't explain,i remember you,autumn in new york,the meaning of the blues Alan Broadbent 1991 Live At Maybeck Recital Hall, Vol. 14 (Concord 4488) i hear a rhapsody,oleo,you've changed,lennie's pennies,strollin',peace,nardis, woody'n i,sweet and lovely,mendocino nights,parisian thoroughfare // + upper manhattan medical group (U.M.M.G.),don't ask why Buddy Montgomery 1991 Live At Maybeck Recital Hall, Vol. 15 (Concord 4494) since i fell for you,the man i love,a cottage for sale,who cares,the night has a thousand eyes,how to handle a woman,what'll i do,you've changed,money blues, by myself,this time i'll be sweeter,soft winds,my lord and master / something wonderful Hank Jones 1991 Live At Maybeck Recital Hall, Vol. 16 (Concord 4502) i guess i'll have to change my plan,it's the talk of the town,the very thought of you, the night we called it a day,bluesette,a child is born,what is this thing called love,oh what a beautiful morning,six and four,i cover the waterfront,memories of you,blue monk,round midnight,oh look at me now Jaki Byard 1991-09-08 Live At Maybeck Recital Hall, Vol. 17 (Concord 4511) hello young lovers,tribute to the ticklers,my one and only love,european episode, collage of thelonious monk: round midnight,friday the 13th,ruby my dear,dedication to art blakey,walter davis,leonard bernstein and aaron copeland,family suite Mike Wofford 1991-09-29 Live At Maybeck Recital Hall, Vol. 18 (Concord 4514) tonk,too marvelous for words,stablemates,for woff,one to one,rose of the rio grande,little girl blue,duke's place,mainstem,topsy,impresiones intimas #1,lullaby in rhythm Richie Beirach 1992-01-05 Live At Maybeck Recital Hall, Vol. 19 (Concord 4518) all the things you are,on green dolphin street,some other time,you don't know what love is,spring is here,all blues,over the rainbow,small world,in the wee small hours of the morning,round midnight,remember,elm Jim McNeely 1992 Live At Maybeck Recital Hall, Vol. 20 (Concord 4522) there will never be another you,zingaro (portrait in black and white),bye ya,round midnight,un poco loco,touch,all the things you are,body and soul,breaking up breaking out Jessica Williams 1992 Live At Maybeck Recital Hall, Vol. 21 (Concord 4525) why do i love you,the nearness of you,kristen,i'm confessin' that i love you,i'm getting sentimental over you,summer song,it's easy to remember,nice work if you can get it,blue tuesday,i remember bill Ellis Larkins 1992 Live At Maybeck Recital Hall, Vol. 22 (Concord 4533) howdja like to love me,perfume and rain,lady be good,i don't want to cry anymore, blue skies,no more / god bless the child,i let a song go out of my heart,spring will be a little late this year,leave me alone,things ain't what they used to be,when a woman loves a man / i'm through with love Gene Harris 1992 Live At Maybeck Recital Hall, Vol. 23 (Concord 4536) lu's blues,penthouse serenade,old folks,in the wee small hours of the morning, elephant blossom blues,my funny valentine,they can't take that away from me, blues for rhonda,angel eyes,errol's theme Adam Makowicz 1993 Live At Maybeck Recital Hall, Vol. 24 (Concord 4541) tatum on my mind,get out of town,easy to love,i get a kick out of you,you do something to me,i concentrate on you,you'd be so nice to come home to,night and day,begin the beguine,love for sale,just one of those things Cedar Walton 1992-08-09 Live At Maybeck Recital Hall, Vol. 25 (Concord 4546) the maybeck blues,sweet lorraine,stella by starlight,darn that dream,zingaro, caminhos cruzados,bremond's blues,you're my everything,the meaning of the blues ,i'm old fashioned,i didn't know what time it was,just one of those things Bill Mays 1992-09-27 Live At Maybeck Recital Hall, Vol. 26 (Concord 4567) a nightingale sang in berkeley square,i wish i knew,stompin' at the savoy, boardwalk blues,lush life,i'm confessin' that i love you,guess i'll hang my tears out to dry,jitterbug waltz,thanksgiving prayer,why did i choose you,never let me go, grandpa's spells Denny Zeitlin 1992-10-18 Live At Maybeck Recital Hall, Vol. 27 (Concord 4572) blues on the side,the girl next door,my man's gone now,lazy bird,round midnight, love for sale,and then i wondered if you knew,country fair,sophisticated lady,the end of a love affair,just passing by,what is this thing called love,fifth house Andy LaVerne 1993 Live At Maybeck Recital Hall, Vol. 28 (Concord 4577) yesterdays,i loves you porgy,sweet and lovely,star eyes,my melancholy baby, when you wish upon a star,beautiful love,turn out the stars,moonlight in vermont, impression for piano,stan getz in chappaqua John Campbell 1993 Live At Maybeck Recital Hall, Vol. 29 (Concord 4581) just friends,invitation,emily,darn that dream,you and the night and the music,easy to love,i wish i knew,the touch of your lips Ralph Sutton 1993 Live At Maybeck Recital Hall, Vol. 30 (Concord 4586) honeysuckle rose,in a mist,clothes line ballet,in the dark,ain't misbehavin',echo of spring,dinah,love lies,russian lullaby,st. louis blues,the viper's drag,after you've gone Fred Hersch 1993-10-24 Live At Maybeck Recital Hall, Vol. 31 (Concord 4596) embraceable you,haunted heart,in walked bud,you don't know what love is,if i loved you,heartsong,everything i love,sarabande,the song is you,ramblin',body and soul Roland Hanna 1993 Live At Maybeck Recital Hall, Vol. 32 (Concord 4604) love walked in,they can't take that away from me,softly as in a morning sunrise, gershwin medley: fascinatin' rhythm,the man i love,let's call the whole thing off, how long has this been going on,oleo,lush life,this can't be love Don Friedman 1993 Live At Maybeck Recital Hall, Vol. 33 (Concord 4608) in your own sweet way,alone together,prelude to a kiss,invitation,memory for scotty,i concentrate on you,how deep is the ocean,sea's breeze Kenny Werner 1994 Live At Maybeck Recital Hall, Vol. 34 (Concord 4622) roberta moon,someday my prince will come,in your own sweet way / naima,autumn leaves,try to remember / st. thomas,guru,a child is born George Cables 1994-01-09 Live At Maybeck Recital Hall, Vol. 35 (Concord 4630) over the rainbow,helen's song,bess you is my woman now,my man's gone now, someone to watch over me,you don't know what love is,lullaby,everything happens to me,goin' home,little b's poem Toshiko Akiyoshi 1994-07-10 Live At Maybeck Recital Hall, Vol. 36 (Concord 4635) the village,come sunday,con alma,polka dots and moonbeams,it was a very good year,the things we did last summer,old devil moon,sophisticated lady,quadrille anyone?,tempus fugit John Colianni 1995 Live At Maybeck Recital Hall, Vol. 37 (Concord 4643) blue and sentimental,stardust,what's your story morning glory,it never entered my mind,londonderry air,don't stop the carnival,when your lover has gone,jada,basin street blues,i never knew,baby won't you please come home,tea for two,goodbye, heart shaped box Ted Rosenthal 1995 Live At Maybeck Recital Hall, Vol. 38 (Concord 4648) it's all right with me,long ago and far away,lennie's pennies,better you than me, you're a joy,jesu joy of man's desiring,drop me a line,117th street,gone with the wind,hallucinations,you've got to be modernistic Kenny Drew, Jr. 1995 Live At Maybeck Recital Hall, Vol. 39 (Concord 4653) stella by starlight,peace,after you,ugly beauty,well you needn't,coral sea,images, straight no chaser,waitin' for my dearie,autumn leaves Monty Alexander 1995 Live At Maybeck Recital Hall, Vol. 40 (Concord 4658) when the saints go marching in,when i grow too old to dream,close enough for love ,the serpent,where is love,renewal,island in the sun,estate,for sentimental reasons ,speak low,smile Allen Farnham 1996 Live At Maybeck Recital Hall, Vol. 41 (Concord 4686) in your own sweet way,waltz for debby,the carpal tunnel blues,maybeck sketch no. 1,i get a kick out of you,never let me go,witch hunt,maybeck sketch no. 2,i hear a rhapsody,twilight world,lover James Williams 1996 Live At Maybeck Recital Hall, Vol. 42 (Concord 4694) Polka Dots and Moonbeams,Footprints,Dreamsville,I Fall in Love Too Easily,New York,Round Midnight,Inner Urge,Street of Dreams,Blues Etude,Spirtual Medley: Holy, Holy, Holy,Sometimes I Feel Like a motherless child,Blessed Assurance,Why We Sing

Also not yet out on CD: Red Garland Trio (MV 6)

I'm always glad that the uptight (man, I've got to expand my vocabulary) folks seem to be in the minority. I believe in freedom of expression, and any insecure type who bluntly (and often blindly) puts down what they happen to not like- especially if they are artists themselves- always looks very foolish, IMO. And anybody (new) who comes along with their (new) perspective is... "new" in a way. You mean everybody wants to get laid, right?

A few follow-ups... Jim, thanks for addressing and expressing. Your views and insights are always worth reading, and I basically agree with everything you said. However, just to clarify, I'm not sure you understood my point. When you said: You were making a good observation, but not quite answering my question. What I was sort of objecting to was the somewhat arrogant (IMO) use of the term "new music" to describe only "free" jazz. I just can't see turning over the rights to the term "new music" like that. Music can't be "new" in any other area of jazz besides free? (I realize that semantics are coming into play here, BTW ). I feel the same way about Marshall McLuhan's use of the term "artist". I also think it's misguided to view everybody outside of free jazz as "living in the past", looking backward, etc etc. I'm not buying it. All that's required is a new song, a new approach, a new idea... even if it's all based on a traditional style. If people are digging it, buying it, paying to go hear it, etc, I don't see how that's somehow not "living in the present". If info is getting buried in the Funny Rat thread (and I can sure understand how that is happening), then I agree- start more threads in the appropriate places. Finally, I'm still not sure how Oscar Robertson gets improved in any way by a new forum...

We're talking about "NEW" music? Somebody help me out here. Is there an aspect of free jazz, a school of free jazz, a movement in free jazz, or whatever (I'm not sure how to put it) that somehow lays claim to the term "new music"? BTW, is "New Age" still "new"? Also, please explain the Marshall McLuhan quote to me as well. I'm not comfortable with it, but maybe I don't get it...

Nice idea for a topic. A few OJC's, and a few that just popped into my head... Cannonball - Alabama Concierto Ray Brown - Jazz Cello Kenny Burrell - Weaver Of Dreams Coltrane - Interplay / 2 Trumpets, 2 Tenors Lou Donaldson - Lush Life (aka Sweet Slumber) Curtis Fuller And Hampton Hawes With French Horns Benny Golson - Take A Number From 1 to 10 Grant Green - The Latin Bit J.J. Johnson / Joe Pass - We'll Be Together Again

Marcus, your post reminds me... there are many MP3 samples of some very good (and obscure) recordings at the Whatmusic website: http://www.whatmusic.com/musicstore/Brasilian_cd_1.php The site also includes extensive historical and biographical info on the albums and the artists, as well as liner notes. Really a well-run operation. I would recommend spending some time there for anyone who is interested in this music.

sorry Jim but this i dunno... if you like them maybe you should also check "Os Cariocas" and "Quarteto em Cy" (only composed by girls) Marcus An interesting question, and I have no answer either. I've never heard a whole album of the MPB4, and I'm still basically ignorant when it comes to the Hi Lo's. I've probably heard them at some point in my life, but I couldn't say for sure. At any rate, I love Os Cariocas, and I know that they were very influential and have stood the test of time (they formed in 1946, and are still together- with two original members remaining). Here's a quote from Ruy Castro's "Bossa Nova: The Story Of The Brazilian Music That Seduced The World"... Dozens of vocal ensembles were formed and banded in Rio at the end of the forties, but there was one that seemed indestructible: Os Cariocas. From the time they turned professional in 1946, with their composition of members already established- Ismael Netto, his brother Severinho Filho, Badeco, Quartera and Valdir- Os Cariocas were regarded, at least at The Murray, as the General Motors of vocal ensembles. Just for the record, the Hi Lo's, whom it was later said they copied, were formed in 1953... Jim, you may well realize it already, but that compilation I sent you a couple of years ago- "Bossa Nova: Sua Historia, Sua Gente"- included tracks from Os Cariocas, Quarteto Em Cy, and MPB4.

Not really, Marcus. I had seen this Odeon recording at Dusty Groove some time ago, but I never ordered it: I don't recall what Dusty Groove said about it, but I notice at the Clique site that it's mostly original songs (I like to hear a few familiar things, usually): MUITO PRA FRENTE / Quarteto Sambacana 1965 Odeon MOFB 3443 1 Tom da canção (Pacífico Mascarenhas) 2 O vento que soprou (Pacífico Mascarenhas) 3 Até você voltar (Pacífico Mascarenhas) 4 Aladim (Pacífico Mascarenhas) 5 Era um dia assim (Pacífico Mascarenhas) 6 Estrela caindo (Pacífico Mascarenhas) 7 Eu e você (Pacífico Mascarenhas) 8 Sem me olhar (Pacífico Mascarenhas) 9 Fui olhar pra você (Pacífico Mascarenhas) 10 Mesmo céu (Pacífico Mascarenhas) 11 Você é muito mais (Pacífico Mascarenhas) 12 Tarde azul (Marcos de Castro - Pacífico Mascarenhas) 13 Apareceu na tarde (Pacífico Mascarenhas) 14 O navio e você (Pacífico Mascarenhas - Wagner Tiso)

Well, even though it was the former and not the latter, let me just say that there's nothing to be embarrassed about on that. I had a similar struggle, and I think it's remarkable how different this player sounded on the 'bone. I get embarrassed all the time on these BFT's, especially in that I often struggle to recognize what saxophone a player is using. I just don't admit it very often. BTW, I went out to buy the CD that provided us with track 5. Those OJC's used to be everywhere... but now some of them seem to be nowhere (brick & mortars, that is). I'm going to track it down, though.

Same here, Flurin: Mine's this one: ... and this is the one I posted about: I listened to it again, and I still come away with mixed feelings. I used the term "smooth" above, not even realizing Watts' ties to smooth jazz and smooth jazz artists. I've done a little reading online since, and now it makes more sense. I must say, the man is versatile, and very impressive at times, yet I have trouble with that smooth element. Maybe it belongs in a separate topic, but can anybody briefly encapsulate the evolution of smooth jazz (or "instrumental pop", as I once heard Wynton refer to Grover Washington) saxophone playing... the major names... who influenced whom... when it took place? I know Watts was born in 1945, and that he's been involved with big bands/large ensembles, and studio work, but that's about all I know. Incidentally, any decisions made by a musician of the caliber of Ernie Watts in terms of crossing "artistic boundaries" is 100% O.K. by me. I'm just making an observation, and trying to understand the big picture.

What a coincidence- I never got around to it, but I was thinking about starting a thread on Watts today. I just picked up the Quartet West's "Haunted Heart" CD from 1992 (for the second time, in fact- I owned it several years ago and let it go), because I wanted to learn the title song. I have mixed feelings about Watts on this. I'm not that familiar with his playing otherwise, although I remember him from the (Johnny Carson) Tonight Show band. I'm in awe of his technique at times (especially on a couple of the difficult bebop themes), and I do enjoy some of his soloing on this CD, but I also get kind of a "smooth" sensation at times during his solos... not sure who to compare it to, since I avoid smooth jazz altogether. Anyway, that might be just a smidge unfair, as some of the licks frequently employed by smooth jazzers probably were derived from things they heard jazz players doing. Also, it may be that (for me at least) Watts' style is somewhat modern for the vintage tunes being played on this CD. I don't hear a great deal of personality in his playing here... but I only spun it once. Anyway, mixed feelings, but I intend to give it more time and attention.

A few more for Please Send Me Someone To Love: Red Garland - Red Garland's Piano Eddie Davis - Goin' To The Meetin' Kenny Burrell - Asphalt Canyon Suite Count Basie & Joe Williams - Compact Jazz