Jim R

Jimmy Smith played piano on the track "cha cha j" at the July 4, 1957 Blue Note session with Lou D on some tracks (released in Japan as L.D. +3). Was that the first time for him?

DISC TWO: 1. Another piece with a simple structure... a relaxed mood. This one I like. If this isn’t Gil Evans’ work, it’s Evans-inspired. Wait a minute... is this from Burrell’s “Guitar Forms”? Wow... I haven’t played that in so long, I’m not sure. Never one of my favorite KB albums, for some reason. 2. Betty Carter, a very distinctive vocalist. Not a big favorite, but I do enjoy a lot of her work. Never heard this particular track. Nice rhythm section... but I’m not prepared to guess who... 3. Ooooh, yeah!! THIS is more up my alley. I’ve never heard this particular track either, but I have heard the tune- the theme from “Golden Boy” (aka “Night Song”). I don’t think I’ve ever heard a vocal version, so these lyrics are brand new to me. That sounds like Mr. Burrell on guitar again (?)- sweet, at any rate. The tempo on this is slower than I’m used to for this tune (off the top of my head, I’ve got versions by Blakey, Burrell, and Eric Alexander, all of which are a bit quicker). 4. Not my style once again... never heard it. Could this be Dave Pike? Hutcherson? I don’t know... 5. Like disc 1, track 3, I find this pleasant and “atmospheric” (what the hell does that mean, anyway? ). I probably wouldn’t buy it, but if it came on the radio, I wouldn’t shut it off (in other words, it holds my attention and interest to some degree). This guitar playing (particularly sound-wise) is outside my main realm of current interest, but I find it pretty tasty nonetheless... kind of takes me back to certain sounds I liked in the 70’s. 6. Once again, a simple structure used as a taking-off point for relaxed exploration. Once again, it meanders and wanders a bit more than I would prefer, but it has a relaxing quality which I like. I like the interaction on this, and I can follow it better than some of the more “out” explorations on these discs. 7. The flute solo was okay... I don’t like the piano playing. Forgive me, but... zzzzzzzzzz. It was bad enough that it went over 10 minutes. Now it’s at 17, and... give it a rest, please! 8. Too busy, right off the bat. Kind of laid back and meandering again, but more chaotic. I’m at the 5-minute mark, and this is just annoying to my ears- especially the reed players, who are getting in each others way, IMO. The piano is kind of soothing (that’s the only nice thing I can come up with right now). Ah well, to each their own. Not for me, alas. 9. I don’t like this, but at least this demonstrates some structure, some technique, some discipline, some direction. This has tremendous energy, but for me it’s tiresome and unfulfilling. 10. I prefer Earth music. Does nothing for me. 11. The tune is “Exactly Like You”. I don’t like the tenor’s phrasing. I don’t like the drummer. Hmm... I don’t like the bassist. I’m not liking the pianist’s comping. I’m not liking the trumpet solo. I’m not liking the piano solo. Ouch, this is really very weak, IMO. Wow, this disc went downhill for me after a nice start. A lot of these tracks are so loose... decent musicianship at times, but less than memorable meandering that many an amateur could execute, IMO. Too little foundation on a lot of this, too little of the jazz language that I can relate to. Oh well. Well, I’m sure there are going to be some responses here that are far more positive than mine, but I had to be honest about my own reactions. Anyway, I’m looking forward to reading this thread now, and I want to find out more about a few of these pieces! Thanks Randy.

Have not had time yet to listen to disc 2, but here are my initial impressions of disc 1: DISC ONE 1. Sounds like a late 40’s ensemble... a la Dizzy, with latin percussion. I don’t have enough experience with that stuff to be able to say exactly what this is, but it's nice. I should listen to this kind of thing more often. I'll have to listen again to see if any other ideas come to me... 2. 1970’s? Like the energy, admire the musicianship... but not my cup of tea. Pianist reminds me a bit of Tyner. Nice trumpet chops... Woody Shaw? Freddie Hubbard also comes to mind, but I haven't heard much of his work from that era. 3. Nice laid back feel. Good solos, atmospheric, timeless quality... pleasant, if not terribly memorable for me. 4. Interesting, and very spirited performance, but a little primitive sounding for my taste. I don’t get off much on things with so much emphasis on percussion. Alto solo has its moments, but kind of rambles on too long for me. Nice recording quality, though (nice texture). The vocals are kind of fun, but also kind of tedious... 5. Not my thing. Pretty intense... and pretty monotonous. Obviously these are skilled musicians, I just don’t care for this kind of music. I think I would always choose silence over this kind of thing. 6. Nice change of pace from #’s 4 and 5, but... I didn’t really dig the tune, and... I think I hate both of these singers (some moments here that remind me of one of those American Idol ads... “that was bloody awful”). 7. Recognized this tune immediately, and once I realized it wasn’t the Eddie Jefferson version, I knew it must be this (first track): http://www.allmusic.com/cg/amg.dll?p=amg&u...l=Aomkcu32gan2k 8. Lost me again. No real clue, and no real interest. 9. That’s got to be Johnny Hodges (with Duke, I’ll assume). I recognize the theme, and should know the title, but I honestly don’t. Never was a big band aficianado, and after all these years I’m still trying to catch up with these classics. 10. Another classic sound. I know the group, I know the tune, the only question is which version... I’ll say (track 4): http://www.allmusic.com/cg/amg.dll?p=amg&u...l=Atztxlfaegcqp 11. Never heard this before. “Crucificado” ?... pretty nice groove, but none of the musicians really knock me out individually.

He and Andy Devine are among my earliest TV memories. RIP Captain.

Just to follow up... I came across some info regarding the composer of the lyrics for Anita O'day's recording. His name is Bill Loughborough. I knew about this guy some years ago from his appearance on "Chet Baker & Crew" (chromatic tympani; lyrics on Chet's version of "Line for Lyons"), but had forgotten about him. Here's an excerpt from his webpage, which is pretty interesting (a man of many interests!): From about 1940 until 1960 my life revolved around music, largely of the jazz persuasion. A good friend was a legendary New Orleans trumpeter, Willie Gary "Bunk" Johnson. Later I played, recorded and traveled with another trumpet legend, Chet Baker and can be heard on a couple of his CDs "Chet Baker and Crew" and "Young Chet." One of the most brilliant musical talents I ever encountered was Harry Partch who created a completely new music using instruments of his own design and construction. His "Oedipus" features a huge Marimba Eroica that I built for him and he also made a bamboo instrument based on a design of mine used on the only piece he ever wrote for someone else: "Ulysses Stands on the Edge of the World." With a childhood friend (maybe idol is better) David "Buck" Wheat I wrote (me lyrics, him music) some songs that are still being heard via the magic of electric recording (Bob Dorough, Tuck & Patti, and Al Jarreau have recordings in print of "Better Than Anything" which was also recorded by Irene Kral and a host of others in the '60s. The Kingston Trio and Manhattan Transfer are current with "Coo Coo You"). Dorough and I wrote "Whatever Happened to Love Songs" (also an opera based on Dr. Brinkley) which is available. I also wrote lyrics to Miles Davis' "Four" as recorded by Anita O'Day and Gerry Mulligan's "Line for Lyons" available at last on Chet's "Chet Baker & Crew" CD.

I've become a fan fairly recently, and would appreciate some thoughts from anyone who has checked out his work. I bought his EVERYTHING I LOVE CD a few weeks ago, which was what really made me wake up and take notice.

John, I'm kind of with you on the bonus track overkill phenomenon. I always run into this issue when listening to boxed sets, and I usually fail to program my player in order to avoid it. Taken individually, though, I think these are all very worthwhile takes, and I'm glad to have them. Just got to learn to avoid listening to them all at once, I guess. Does anybody else have any particular reactions to the ballad feature on this (Ghost of a chance)? I can't quite put my finger on why, but every time I hear this I'm completely knocked out (of course, I can almost say that about everything Wes did). The way he phrases the melody, the way he weaves his solo... for me it's just pure magic. Too bad there weren't three takes of that... but I think I know why there weren't!

Well, I guess in some ways I'm fortunate that life got too busy for me to even get around to putting my foot in my mouth. I have now officially joined the club wherein one fails to recognize tracks (3 in this case) that one has in one's own collection. For me those were #'s 2, 7, and 15. This test was extremely difficult for me (I love a good piano too, and of course it's pure blasphemy to omit the GUITAR! ). By the time I got to #13, I was actually proud that I recognized it as "It Never Entered My Mind" (never would have guessed the artists, though). All in all a very humbling experience. I think the most tantalizing track for me (in terms of curiosity and possible future exploration) might be #1. But I really need to go back and listen to the whole thing again... Thanks again, John.

Jim, you get a lot more of Clay's flute than his tenor on this date. The flute comes out on the (3) aforementioned tunes (6 tracks including alt takes) where Wes uses the baritone guitar; as well as on the three takes of "movin' along". Plenty of solo space for Clay on these, especially on the 3 takes of "body and soul". Clay plays tenor only on one song- the two takes of "so do it" (which run a bit over 6 minutes each), and lays out on the other two tunes. One chorus only on "so do it", which amounts to less than a minute, so he's not exactly stretching out on the tenor.

Well, I haven't had as much time as I'd hoped to review this session before getting this thread off the ground. My son had a bad stomach flu this week, and spent one day in the hospital. He's doing fine now, but I'm still a bit drained... This session was one of my first jazz LP's, and my introduction to Wes Montgomery, and has always been a sentimental favorite. I love the pairing of Wes and James Clay, the rhythm section, and the variety of sounds on this album (Wes of course experimented with his sound on this session, and Clay doubles on tenor and flute). One thing that has been a source of confusion for some is the instrument that Wes used on the first three songs (tune up, body and soul, and sandu). According to Orrin Keepnews, Wes wanted to get a deeper sound to contrast with Clay's flute on these tracks, so he borrowed a special (rare) guitar. It's been referred to as a "bass guitar", and that's not entirely incorrect, but the traditional bass guitar is a 4-stringed instrument which has a lower range than the 6-stringed instrument in question here. Also, the traditional bass guitar design features a solid body, whereas this instrument was (at least partially) hollow. The instrument Wes used on this was a somewhat experimental model made by the Gibson company (the same company that produced the L5 model archtops that Wes favored over the years). It was sometimes called a "baritone" guitar, which I think is a better term for it than "(6 string) bass guitar". It was pitched one octave lower than a normal guitar, and had a longer scale. GIBSON EB-6 The alternate takes on this session are in some cases just as good or better than the issued takes, and as Mr. Keepnews points out in the notes for the boxed set, some of them are restored to their original form after many years (the 11:15 version of body and soul being a fine example). Louis Hayes kills me on this. I think he's been one of my favorite drummers for years, and this session may have been the one that brought him into my consciousness. Pair him with Sam Jones, and you've got an automatic winner. Of course, this session was recorded when they (along with Feldman) were setting nightly grooves with Cannonball ("Quintet at the Lighthouse" was recorded four days after this session). I haven't thought about it in years, but I always used to tell people that Wes' version of "I don't stand a ghost of a chance" from this session was my favorite of his ballad recordings. I can think of a few others that might challenge for that spot now, but this is still among his best, IMO. Time to hit the hay...

The LH&R version on THE SWINGERS is on my desert(ed) island list. I don't know who wrote the lyrics for the Anita O'day version, but they're different. The Hendricks lyrics go something like this: Of the wonderful things that you get out of life there are four And that may not be many but nobody needs any more Of the many facts making the list of life, truth takes the lead And to relax, knowing the gist of life, it's truth you need And the second is honor and happiness makes number three When you put them together you'll know what the last one must be Baby, so to truth honor and happiness, add one thing more Meaning only wonderful wonderful love that'll make it four Miles solo (sung by Hendricks) : Don't you know the score, well, people when they're younger never realize the pleasure treasure life's got But as they grow older, realize a lot They got their minds on all the wrongest scenes And things that cost a lot of money but it's really very funny They fade away and don’t amount to a hill of beans Funny how the things in life we really should adore We forget, or ignore, end up poor Making money till you’re nigh onto madness and end up in sadness Youth is the time when we should see the light Cause when we’re old and wasted the dues from what we’ve tasted run so high that we pay till we die Then you know the youth that made us strong is wasted on the young, so, enjoy it gaily love life, and live it daily You’ll find a lot of things to bring you joy and give peace of mind Get it while the gettin’s good Cause everybody if they only could Life would be a set Life would be a groovy set Groovy as a movie Wail, wail, let your voice be heard Spread the word Everybody here’s got ears Only gotta teach them how to use them Not abuse them So take a tip from me The world’s everything it oughta be As long as you can be sure There is no more to life than the same old four Horace Silver solo (Dave Lambert) : Hard to believe, I know But time will show That even though you think it’s boresome Two and two together constitute a foursome That’s all, four is the figure That’s all, ain’t gonna be gettin’ any bigger Doesn’t matter how you slice it up You’ll never change it You count everything that fate throws into life’s pot Still, only four is all you’ve got Haven’t they told ya ‘bout the little pleasures that are part of all the rest You live a little ‘n love a little ‘n take a little ‘n give a lot Still the total is happiness But that’s only one, you’ve just begun, there’s gonna be more After this it’s truth and honor shinin’ and love combinin’ to make it four No more (Zoot Sims solo) Of the wonderful things that you get out of life there are four And that may not be many but nobody needs any more Of the many facts making the list of life, truth takes the lead And to relax knowing the gist of life, it’s truth you need Then the second is honor and happiness makes number three When you put them together you'll know what the last one must be Baby so to truth, honor and happiness, add one thing more Meaning only wonderful, wonderful love that’ll make it four And there ain’t no more (ain’t no more)

tune up, body and soul, sandu, so do it, movin' along, ghost of a chance, says you; and alternate takes of tune up, body and soul (2), so do it, and movin' along (2). with James Clay, Victor Feldman, Sam Jones, and Louis Hayes

Well, there are so many options and so little time... but I think this will be a good choice, if only because it tends to be overlooked compared to other Wes albums. So, it's this: NOT to be confused with this:

Just got my disc (thanks John, and Jim Dye). I only had time to skim through it right now, but I can tell I'm going to be stumped on most of it. A lot of pianoless stuff here, and I suspect a lot of players I'm not so familiar with. A few tunes I recognized (don't know the exact recordings) : 7 = "Au Privave" / "Straight No Chaser" 13 = "It Never Entered My Mind" (VERY slow, almost Shirley Horn-esque in that respect!) 14 = "Ask Me Now" (I have a hunch who's playing, but only because I just read about it recently... It's a veteran clarinetist, one you wouldn't associate with Monk at all) 15 = "Lover Man" More later...

How / where was that implied in the initial post? The fact that he was asking about "music" CDR's would more likely imply that he has a standalone, no? Doesn't matter now I guess, I'm just curious...

This general subject has been brought up several times (including the old BN board). I've aksed for help a few times myself. Basically, it's a confusing mess. The guys who use computer-based burners will not always understand the problems of the standalone guys, and vice versa. There IS a difference between "data" discs and those designed for audio only (those labeled "music"). I agree with the comment regarding Japanese discs vs Taiwanese. I used to use Memorex blanks (Japanese) with my Harman/Kardon CDR-20 (standalone) burner, and when they switched production to Taiwan, that ended my Memorex purchasing. I am able to use Imation (music) blanks in the H/K, but only for 4X burns. They won't work at normal speed. BTW, the only blanks that have worked in my machine at normal speed have had blue dye (the Taiwanese discs do not). I've heard that Sony blanks will work for me, but I haven't gotten around to trying them yet (haven't quite run out of the Japanese Memorex discs yet). To sum up, it depends what machine you're using, what speed you want to burn at, and what color dye was used. H/K customer support told me they couldn't help with this problem anymore. So, it seems to be that trial and error is the only way to go.

No. CHEROKEE includes material from the July 3, 1957 session with McFadden and Bailey (on which J.S. began by experimenting with the piano*); plus one track ("somebody loves me"), and unused track from the May 8, 1957 session that produced JIMMY SMITH PLAYS PRETTY FOR YOU. *He recorded with Lou Donaldson the next day (7/4/57; the "Jimmy Smith Trio + L. D." session), and one piano track ("cha cha j") was actually used.

Actually, they included "little girl blue" (as well as the other tracks from that "On The Sunny Side" LT series album) on the 1998 CD "Standards". It also includes previously unreleased tracks (also with Burrell and Bailey) from 5/24/59. Recommended.

Oscar Moore was a huge influence on Kenny Burrell (and no doubt many others). Art Tatum had employed the trio format as early as 1932, according to what I've read. With Cole's success, Tatum reorganized a trio with Tiny Grimes and Slam Stewart circa 1943 (fabulous music!). Fats Waller had a trio (gutarist was Al Casey) in the 30's. Clarence Profit had a trio (Jimmy Shirley on guitar) in 1937. Guitarist Leonard Ware had a trio in the 40's. From a guitar point of view, Charlie Christian influenced everybody, and the Goodman quartet was no doubt an influence on the small group sound in general.

If you goin' out, you gotta don the TREADS to be hapnin' wit da THREADS, youknowwhatI'msayin'? Sorry. How about Vick's STEPPIN' OUT?

That was probably the first one I heard, but it belonged to a friend's older brother, who also had: I'm not sure it was my first, but I was inspired to buy this: The one that really got me started, though (about five years later) was:

It's kind of vague for me. It would have been when I was in high school (early 70's), when there was a lot of jazz influence in "rock" music of the day... but to try to focus on the first that most people would label "jazz"... it might have been Eddie Harris & Les McCann's "Swiss Movement"... or maybe one of the Crusaders' albums. The Crusaders were the first live jazz I saw (twice), and that made quite an impression. Of course, I'm sure I heard some jazz well before that (maybe Pops or Basie or Ella or ? on TV variety shows in the '60's), but my parents owned few recordings, and no jazz. There was lots of music in our house when I was a kid (from my Mom's piano or my Dad's radio), but mostly classical and pop standards.

Thanks Marcus. B) For now I'll have to dream...

Hey, can I get a little of that Copacabana breeze too? Randy, you've got another mail...