jeffcrom

I got the email, too, and got really excited - was about to download the set until I realized that it was the same performance as disc one of the It's About That Time album. Definitely worth hearing if you don't have the album, but I'm glad I realized what it was before I paid for the download.

Congratulations! What a doll!

HB, HG!

"Hammerhead" by John Zorn & Naked City "Parker's Mood" - the take one false start by Charlie Parker.... Oh, I'm sorry. I thought the topic was "Best five second versions."

Steve Lacy - Reflections (OJC reissue). Excellent early Lacy, and what a band! I love the compositional ambiguity Monk gave "Reflections." Are the first two bars an introduction, or is that where the 32-bar tune starts? It works either way, even going into the bridge. Brilliantly constructed.

Elvin Jones: Live at the Lighthouse (Blue Note) - sides 1 & 4, since that's how they're paired.

PM sent on Morgan/Shorter Young Lions. Used to have it on 8-track!

HBTY, JT.

Rouse probably seemed like an odd choice for Monk at the time he was first brought into the band, but he really grew into his role. By the 1960s he had developed the perfect blend of chordal soling with the kind of melody-based improvisation Monk's music requires. Very few saxophonists could have done it better. Steve Lacy inhabited Monk's musical world so thoroughly that I would have thought he would be the ideal Monk saxophonist, but the 1960 live recordings of the Monk Quintet from Philadelphia are kind of disconcerting. Lacy is too Monkish - there needs to be some contrast. (That's why Miles Davis sounded so good in Bird's band and Coltrane sounded so good in Miles'.) All that being said, my favorite saxophonist with Monk will always be Coltrane. Even though they were working in different directions to an extent, it was an amazing musical exchange - music at its highest plane.

Al Gallodoro - Gallodoro (Merri). A guilty pleasure. This is semi-classical and pop music - flashy and shallow. But I'm a sucker for great saxophone playing, and Gallodoro is pretty amazing.

Amazing! Where did you find this? Does anyone know if this appears in the book, Steve Lacy: My Experience with the Soprano Sax? Has anyone here read that book? Did a search and found an answer to one of my questions. According to Marcello, it's to be found in Steve Lacy: Conversations (Duke U. Press) - edited by Jason Weiss. http://www.dukeupress.edu/books.php3?isbn=978-0-8223-3815-4 Those pages do not appear in Conversations, unless there has been a new edition with additional material. Being the Lacy freak I am, I bought the book about five minutes after it came out. There are several similar documents in Lacy's handwriting included, which may account for the confusion, but I had never seen the Monk advice in Lacy's hand before. Findings: My Experience With the Soprano Saxophone is not really a book you sit down and read - it's more of a workbook for saxophonists, although anyone interested in Lacy's music would get something out of it. It's got exercises, Lacy scores, solo transcriptions, and advice. It includes of of Book H of "Practitioners," his fiendishly difficult set of etudes for saxophone. I pull those out when I want a real technical challenge. The book is in French and English, and every saxophonist who is interested in going beyond "Cherokee" should have it, in my opinion. By the way, the Monk list is not in that book, either.

Looked up Jackson. Interesting, outsider art. Thanks for the heads up. I'm in Atlanta in a few weeks... know of any galleries that display / sell his work? Don't know of any right now. There's a big "folk art" show every August where you can usually find some of his stuff. My wife bought this painting for me. She did good - of all of Jackson's paintings that I've seen, this is my favorite.

I've got some nice music-related artwork, including half a dozen pieces by Georgia artist George Davidson. Those are all under glass and don't photograph well, but here is "Saks" by Georgia folk artist Black Joe Jackson: I've also got a picture of me with Anthony Braxton and autographed pictures of Danny and Blue Lu Barker.

Back to torrential rain and flood warnings in Atlanta - that's all the folks in low-lying areas need right now. My 40-minute commute took an hour and a half this morning.

Red Allen Meets Kid Ory (Verve)

Amazing! Where did you find this?

Klezmer Conservatory Band - Yiddishe Renaissance (Vanguard). Listening both for enjoyment and to look for repertoire for the 4th Ward Afro-Klezmer Orchestra. We might have a winner with "Yiddish Blues" by Joseph Frankel. I like the cover photo, too - 13 young Jews and Don Byron.

I grew up hearing the classical music my parents played - they were partial to Beethoven. As a teenager exploring lots of different music, I used to listen to Beethoven's Ninth over and over - lying on the floor with my head between the speakers to hear all the details, since I didn't have any headphones. Around the same time I fell in love with Bach, and slightly later with Ives and other "newer" composers. I played in bands in high school and college, and still love the wind ensemble music of Percy Grainger, Holst, Vaughan Williams, etc. I studied classical saxophone for four years in college, and it was a strange and kind of schizophrenic experience. I would spend hours practicing the Glazunov Concerto and the Creston Sonata when I wanted to be practicing the changes to "Comfirmation" and learning Ornette Coleman tunes. My classical music education gave me a really good grounding in technique and musical knowledge, but I do think it slowed down my development as a jazz musician. I did talk my teacher into letting me play some jazz on my senior recital. It was a strange concert - I played the Karg-Elert Sonata for unaccompanied saxophone, Leslie Bassett's very challenging Music for Saxophone and Piano, "Oleo," and Marion Brown's "Once Upon a Time." Classical music is secondary to me only in that I listen to more jazz than any other kind of music. It's certainly very important to me, although my least favorite part of the repertoire is what most classical listeners consider its heart - the Beethoven-to-Mahler Romantic tradition. Most of the time, I'd rather listen to Bach, Stravinsky, or Stockhausen. Thanks for this thought-provoking thread.

Black Bands in Paris 1929-1930 (French Pathe). Sam Wooding has most of the tracks here. More historically interest than really good music here, but Albert Wynn has some really nice trombone solos with the Wooding band.

Played a bunch of world music/ethnic 78s while reshelving records and CDs this afternoon. My favorite was a Turkish Decca - Besiktash Kemal Senman on one side and Hamiyet on the other. My wife (of Norwegian ancestry) got into Blakulla Schottis/Kvasar Valsen by Eddie Jarl's Quartet on the Scandinavia label.

I can only help in a negative way - it's not Coleman Hawkins.

Dollar Brand Oscar Brand Oscar Pettiford

Should have added that the easiest source for the well-known version is the GRP/Decca album What a Wonderful World. Late in the day for Armstrong, but it's still Louis. And I've always thought that his trumpet solo on "Dream a Little Dream of Me" from this album was a masterpiece of timing and note choice.

The first version is the famous one. The 1970 version is the one arranged by Oliver Nelson and released on Flying Dutchman (reissued on RCA). It's got an annoying heavier rock beat.

Noted. Previous post deleted - wasn't thinking.