Jim R

Harden appears on "Images Of Curtis Fuller" (Savoy 12164), recorded in a couple of sessions in1960. Personnel: Curtis Fuller,Yusef Lateef,Wilbur Harden,McCoy Tyner,Jimmy Garrison,Clifford Jarvis, Lee Morgan,Milt Hinton,Bobby Donaldson. Tracks: accident,darryl's minor,be back ta-reckla,judyful,new date (Japanese CD included alternates of accident,darryl's minor, and new date). This title as well as "The King & I" were part of the Denon CD series. They may be somewhat difficult to track down now... not sure. I think "Images" was released more recently in mini-LP form. "The King & I" is one of my favorite jazz CD's- period.

This material was (originally?) issued on a 3-LP set as "Jazz On A Sunday Afternoon" (Accord SN 7113) recorded live on April 29, 1973 at Casa Caribe, in Plainfield NJ. It has to be one of the most widely leased/reissued CD's of all time. I have it on a label called "Magnum", with the title "Par Excellence" (bought it around 1994), but I've seen it MANY times on other no-name labels under different titles. In fact, it seems like I see a different one every other time I go to the local brick and mortars. It is pretty good, as Jim says. The sound quality leaves a little to be desired, though...

For my 8th birthday, in 1964, I received a little AM radio/turntable unit with 4 speeds (including 16... or 16 2/3, or whatever). I used to play my Chipmunks LP on that thing, and the16 speed came in mighty handy for controlling the caffeine-induced fits of Alvin, Simon, and Theodore. Later on in life, I owned a few Prestige 78's and 10" LP's. Sorry Jim, that's the best I could do... B)

I have 11 of these: The Jazztet- Here And Now Jimmy Cleveland- Introducing Jimmy Cleveland And His All Stars Art Blakey / Joe Gordon- BLAKEY / Introducing Joe Gordon Ed Thigpen- Out Of The Storm Johnny Smith- Johnny Smith Wynton Kelly- It's All Right! Tal Farlow- This Is Tal Farlow Billy Bauer- Plectrist Art Farmer- Listen To Art Farmer The Jones Brothers- Keepin' Up With The Joneses Lawrence Brown- Slide Trombone The Jimmy Cleveland may be my favorite, especially (as someone mentioned) with his work as a leader being so limited and difficult to find. For reasons that I can't explain, I've found several of these used in local stores for $5-$7. Count me among those who dislike the CD packaging and (in some cases) amazingly ugly, illegible, garish artwork/design (I'm looking at the Lawrence Brown packaging as I'm typing this... ouch. Sure makes me appreciate the basic b&w Mosaic approach all the more). Having a chance at some of this music on CD for the first time is great, though.

I've seen a couple of promo spots on PBS over the past few weeks, and they didn't exactly impress me. One of them included a video clip from an interview with Aerosmith's Steven Tyler (sp?), saying something like "I love the blues, and I'm glad I've got 'em". The detail in Rooster's post has me feeling a little more encouraged. Thanks for posting this info, guys.

Regarding #8, it's amazing how differently I can hear something upon repeat listening with a different mindset. I probably had the earlier Green sound in mind in terms of discounting the possibility that it was Grant. I don't know when this was recorded, but I know I haven't listened to nearly as much of his work from the later portion of his career. Anyway, I think I "get it" now. This game can sure be humbling...

Zero for me. I only own about a dozen mini-LP's, none of which are available in jewel case versions. I think mini-LP's do look cool, but for me they're impractical to store. Besides the narrow spine issue mentioned above, they also don't fit into the CD racks and drawers that I have been using for the past ten years. Also, I generally prefer the sound of TOCJ's to the JRVG's I've heard.

15-20 years ago, I had in the hundreds- a mix of originals, Japanese reissues, and every variation in between. Now I have about 30, which still span from an original 10" LP to some orig 12", to Japanese reissues. I still have several hundred non-Blue Notes, though.

Hmm! If that's the tenor player, I'll be a little surprised that I guess correctly. When I tossed out his name, it was basically just a reflex- I'm not all that familiar with his sound. I've never heard of Lowe at all, but I think we would all agree that it's not Grant Green. Also, I wouldn't have thought that Benny Golson is the tenor man on #6 (Dameron's writing reminded me a bit of Benny's before somebody pointed out it was Tadd's tune, which is the only reason I mentioned Benny). I am pretty familiar with Benny, although I'd have to admit that I have heard less of his later work, where his sound had changed. Hmmm... still a LOT of mysteries on this test!

Since my post above, I've purchased all of the aforementioned Charlap Venus recordings. I had already become a big fan of his after getting some of his work on other labels (Criss Cross, Blue Note, and a few others). The Venus material just solidifies my impression that Charlap is one of the best interpreters of 20th century classics, while still being thoroughly fresh and distinctive. I've always believed that the possibilites of expressing oneself without really "breaking new ground" are pretty much limitless, as long as a musician has his or her own style, personality, and sound. Charlap goes well beyond my expectations in that regard. His touch on the piano is incredible- he never sounds like he wants to blow through some changes and get to the end of a performance. Every note seems to be well-calculated, and the guy has a great sense of what to play and what to leave out, with a consistent dose of surprises and beutifully conceived passages. I wonder why he's not talked about more on jazz boards... too conservative for some, I suppose...

Geez, Jim- isn't that a little harsh? I mean, if you didn't care for the tenor player, you could just explain why... Sorry... just could not resist.

MIke, I may have jumped the gun on trying to pick the specific recording (I'll edit my post to indicate that- don't want to waste anybody's time B) ). However, I'm still inclined to think it's Joe Williams. He does sound a little raspy, and it could be somebody else, but I'll say it's Joe late in his career (with a cold ).

That's for damn sure! And while we're on the subject of organists, I was just thinking this morning how many there are whose styles I have yet to learn to identify (the blindfold test is reminding me)...

I think this is #2 (warning to new players- don't look if you don't wish to see what might be the answer): #2 ======= EDIT: ... or, not. I'm still going with Joe, but this may not be the right date...

Just curious... for those of you who are Conn completists- if a title is released as a Conn, and you already have it in another form, do you automatically get it? Do you keep the TOCJ (or whatever other incarnation you have it as) too? I used to base my BN buying decisions primarily on whether or not a new CD issue (from whatever series) had bonus material. Since I did buy a lot of early BN CD's (McMasters) to replace my vinyl, I have also bought some for the sake of sonic improvement. Anyway, I guess I've never even thought about being a completist within any CD series (my taste, and my wallet probably wouldn't allow for it regardless...) Reg, thanks for the link. Up through the Series XIII of 2002, I have about 65 of the titles that have been released in the Conn series (27 actual Conns, and the majority of the others probably TOCJ's).

Yes, that's what I mean. But just count them as Conns. Easier said than done. If somebody can post a link to the complete list (or paste in the list itself), I might be able to tackle the question....

27 Conns. I'm not sure what you mean by TOCJ/RVG equivalents. If you mean titles from the Conn series that we instead have in TOCJ or RVG form, it would take me awhile to figure that out (but I'm sure I have quite a few, as I have always liked TOCJ's) I can't specifically recall getting rid of any Conns (I don't often get rid of anything, which is why I have such storage problems ). From your list, I have both Dizzy Reece titles, the Criss, Walter Davis, the Louis Smith and the Freddie Redd.

Well, this time around I decided to take notes from the beginning, and just post what I had written. This test was a little more difficult for me than Tony's was... 1. Hmm... The Three Sounds, perhaps? B) // gospel type tune (public domain?) // *** Nice feel. 2. Joe Williams - // I’d Rather Drink Muddy Water // ** Love Joe W, but this is kind of monotonous (Joe’s humorous interaction with the audience at the end is the high point for me). 3. 60’s soul alto (quartet); sounds similar to the tune “Stand By Me” // ** Nice melody, not much to sink my teeth into otherwise... 4. Tenor (quartet). Tenor player has blues/R&B roots // Watermelon Man // **1/2 Not my favorite style of jazz, but very good playing. Good solos 5. two tenors (quintet); Wess/Foster? (1st tenor soloist Lesteresque; 2nd a little more bop-influenced). Basie-like piano solo (comping not quite as economical as Basie’s) (Savoy label?) // Blues (unison line)... // *** Good rhythm section. 6. trombone / tenor (quintet) (tenor solos first... Jimmy Heath?) // ? early-mid 50’s boppish theme (very familiar, but I can’t quite place it) Love the tenor part (harmony) on the head- Benny Golsonish writing // relatively clean/modern-sounding recording (I can REALLY hear what the bassist is doing on this!!) **** Very nice 7. trumpet , alto (quintet) Don’t know who... Red Rodney/ Ira Sullivan? // tune is Billie’s Bounce // (LIVE) also a relatively modern recording ***1/2 8. tenor (don’t know... Houston Person?), organ, guitar (Billy Butler-ish comping; Phil Upchurch-ish solo... ??), drums // Since I Fell For You // (Live) ** 9. tenor (quartet) tenor sounds very familiar... nice range... very expressive style, great tone... note-bending style reminds me of Ike Quebec at times (it’s not Ike, though). Very nice piano work throughout // I’ve heard this tune, but can’t place it... // **** Great ballad playing 10. tenor (? almost sounds like an alto at times), (quartet) // ? // *** enjoyed it, but I’m clueless as to who... 11. Piano trio // Footprints // *** enjoyable, not really my favorite style, but very good pianist 12. Organ trio w/ horn section // blues // **1/2 Organ is good... horn arrangement doesn’t do a lot for me; guitar comping- sounds like Grant Green’s style of comping- don’t care fo it, kind of trite, could have done without it on this track (especially since guitarist doesn’t solo anyway) 13. tenor (quartet) // blues // No idea who this is. *1/2 forgettable composition, too loose a feel overall. tenor solo has some energy, but for me this was doomed from the get-go. ========================================================= Random thoughts: Identifying bassists and drummers continues to be a weakness for me. In general I no longer get as much out of strong blues/soul elements (“acid jazz” stuff) as I did when I was younger; and the more cliched the blues elements are, the more bored I get... in general (there can be exceptions) These blindfold tests are making me realize that sometimes I have to listed VERY closely to be able to distinguish an alto sax from a tenor. This is really annoying... can make me feel like an idiot, but maybe I'm not the only one (I HOPE). So far I haven’t gathered enough info here to be able to detect any theme here...

As much of a jazz guitar hound as I am, I've never really cared a great deal for Ellis either. Jim's comments above pretty well sum it up for me, and although his sound isn't the only thing about his work that I don't care for, that is part of it for me as well. As with a lot of guitarists (but certainly not all), he changed his equipment a few times over the years. The more he changed it (going from the single coil type pickup on his old Gibson ES-175 to a humbucker, and then giving up the Gibson altogether, and signing an endorsement deal with a Japanese maker), the worse it got, to my ears. I don't necessarily avoid his work, I just don't seek it out like I do with a lot of guitarists. I did pick up his "Conversations In Swing Guitar" CD's (with Duke Robillard), for when I'm in the mood for some down-home bluesy swing. I like 'em mainly because of Duke, though... B)

Forgot to mention this, which I would highly recommend: Royce Campbell - A Tribute To Henry Mancini

I've neglected a more thorough exploration of his work... been meaning to get to it, but keep putting it off. From what I do know, however, I think Free For All is right on. Dreamsville is a nice tune, and another one that pops up quite a bit in jazz is "Mr. Lucky". One of these days, I'm going to grab some of his own works...

Happy Birthday, Dan!! (Better late than never... )

All I got tonight was frozen tamales. B) Anyway, HAPPY BIRTHDAY Vibes. Enjoy those boxes!

They were really something in person. I saw them in a high school gym once, and they performed like they were on national TV. Naturally, most of the material on their major label LP's was really watered down and abbreviated, and that was a band that truly excelled at stretching out. All those guys could play extended solos with meat on the bone. Champlin just blew me away the first time I saw them. I had heard a couple of their Capitol LP's, and really had no idea who was playing what for awhile, but seeing Champlin wail on organ AND on guitar (sometimes challenging Terry Haggerty's chops) AND singing with more soul than just about any other white man on the planet... wow. Cold Blood certainly had its following around here, too. I think the girls got off more on Lydia than the guys, from what I experienced, at least. I have to admit, I never saw them live, though. Saw TOP and The Sons numerous times. I was just remembering a night I saw Albert King in a little (tiny) club here in the south bay area. That night he had a trumpet, a trombone, a tenor and an alto in the band. To this day I wonder who those guys were. The arrangements weren't spectacular, but very cohesive and powerful. And of course, hearing Albert wail in a small club is something that I can not only still remember, I can still FEEL. But I digress. B)

I think that's right, Tony. We took our kids up there once after it moved, but it's been so long I can hardly remember! Slightly off topic, but another great Bay Area band that featured a horn section was The Sons (Of Champlin). From what I've heard, they were a big influence on a lot of horn bands, including Chicago (whom Champlin later joined). Champlin was (and probably still is, since they've reunited) an amazingly talented musician. He was an excellent keyboardist and guitarist, an incredible singer, and wrote some good songs as well. The Sons never achieved as much popularity as some of the other Bay Area bands of the period, but I've always thought they were near the top of the heap in terms of musicianship and soul (maybe that's why they never achieved as much popularity... B)).