mikeweil

Lateef often recorded for Prestige and Savoy with the same band over one weekend at Van Gelder's, so the only sensible way for such a box set would be to cover both labels, which Mosaic probably cannot do. Since the Andorran folks have covered some of this .... 4 CDs with all the Verve, Savoy, and Prestige/New Jazz releases. At least with proper annotation and full discographical details. To make things more improbable, there are two cheapo boxes:

Carambola was done for Capitol - Dizzy's sides for that label sum up to eight tracks - not enough for an album, that's why Blue Note / EMI never cared to reissue them properly. There was some Capitol Jazz sampler IIRC, but I sold it as it didn't have the complete session and had all the other tracks on other releases. The complete stuff is on a Classics CD - compared to the Musicraft and Victor sides, it's all a bit lightweight compared to the preceding sessions, especially the four small group tracks done for Prestige in 1950 .... it was the time when Gillespie started to feature his entertainer personality to keep the band running. He had to disband the orchestra after the Capitol sessions.

Whenever he popped up on a recording, he played personal and interesting solos and dependable ensemble work. Quite an achievement. R.I.P., and thanks for the music.

It's Paula, of course .....

These four tracks were on Savoy SJL 2225, The Bebop Boys. Methinks the greatest advantage of this set will be having all of the material in one place, finally - final collation, for sure.

Oh, Chocolate! He was soooo great. The sweetness of Clifford Brown with the brightness of a Cuban lead rumpet player. I'll never forget watching him dance with Machito's daughter Paula during the orchestra's intermissions - such a sweet guy! Too bad he was never featured in one of O'Farrill's suites - it would have been the ultimate!

Have you heard the Manteca Suite O'Farrill wrote for Gillespie? If I compare the two, I think I know what you mean to say - but OTOH Farmer was no Gillespie. I love Farmer's playing, but he never quite had the ebullient quality that was Gillespie's advantage in a Cuban context.

Been listening to Aztec Suite this morning: the problem, IMHO, was the bass player. Addison Farmer, who plays all the right notes written in his part, but not with drive and feeling Cuban rhythms need. O'Farrill was not on hand to conduct the session himself, Al Cohn does a good job, the horns and the percusionists are on the spot, but the piano is inaudible, and the bass is weak. Just not the right guy for this type of music. The music itself is typical O'Farrill - of the tracks after the suite, Heat Wave being my favourite - up with his best charts from the Norman Granz days. I think all types of music were equal for O'Farrill, that's why he always included a swing feel movement in his suites - just another groove just like the different Cuban dance types. He tried to find a place between modern classical, Cuban and jazz in his suites, not an easy task.

As with the Dial set I'm afraid I will have most of this on vinyl ..... something to buy when I have some extra funds at disposal, which is unlikely in the near future.

https://www.lordisco.com/

Will listen to "Aztec Suite" later today ... There is one more Cuban track written for Gillespie, "Carambola", recorded for Capitol in 1950.

I suppose you have his own stuff on Verve? If not, be sure, make sure to get the Verve edition with the interview coments by O'Farrill, in which he says a bit about his work for others. He thought the "Second Afro-Cuban Jazz Suite" included here was his best work, which I agree with - the second movement touches me very deeply ... Steven Soderbergh used it for his film "Equilibrium". He surely arranged his own tunes for Machito, no idea about other people's tunes. You know the "Manteca Suite" he wrote for Dizzy Gillespie? It's included here: Lord lists another "Cuban Panorama Suite" recorded for Verve ca. 1952 that was never issued. He wrote one "Aztec Suite" for Art Farmer, included in this reissue: Do you know this Palldium LP reissue of ca. 1951 recordings? Go to http://www.freshsoundrecords.com/12082-chico-o-farrill for some Latin music he arranged for others (scroll down). As far as Kenton is concerned, the Lord disco lists only one track, "Ramon Lopez", arranged by O'Farrill in 1974 for the "Fire, Fury, and Fun" LP.

Thanks for clearing the Marx identities, Larry. The Audiophile album is on my buying list later this year. I'm compiling a Lucy Reed discography, seems like there is only one track with Charlie Ventura besides her own three albums.

Disc 4, Sonny Meets Hawk etc.

Thanks, Steve - no I do not have the two Otis Savoy twofers, that's why I'm asking - never saw those in stores back then, by the way. There was a 3 disc set with 76 tracks:

Not sure about Shorter - it would have been leaning more towards free-form playing at which he was great but which was not Zawinul's bag. There were times when Shorter was almost "Mr. Gone" on stage - remember Jack DeJohnette's tune "Where or Wayne"? For my taste, Zawinul was dominating the band too much. Well I_m more a fan of Vitous than of Zawinul ...

Since Fantasy LP 3-212 was definitely released in 1956 the 1957 recording date for the Chicago session must be wrong - January 1956 is more probable. The Marx/Frigo duo recorded two LPs in Chicago late in 1956, September and November - that must be the year when Reed performed with them in that city. That Dick Marx - I suspect there was a name change or mixup, as there is a pianist Bill Marx performing and recording with partly the same pool of musicians - from 1958 it's Bill Marx, while Dick Marx stops appearing in that year!

Those Savoy Twofers are just as good and interesting as the ones from the Fantasy group, IMO. Have many of them. The only ones I sold were the Wardell Gray and Dexter Gordon stuff when the complete CD editions were issued. JIm, what Johnny Otis box are you talking about?

" Recorded March and May 2010, February and March 2011 " - I wonder why it took so long to get it released. Oh, what Weather Report could have been with Vitous as leader and Zawinul leaving ....

You have to go to the first post, click "edit" - then you can modify the thread title. Just click on the line, mark the words you want to delete etc, just like you would in text editor. Then click "save" - that's it.

Reviving this topic after finally getting a copy of the Fresh Sound box. This review that Big Beat Steve once linked gives a nice overview of that box compared to the OJC reissues: http://jazztimes.com/articles/9065-the-complete-noctourne-recordings-jazz-in-hollywood-series-volume-1-herbie-harper-with-bud-shank-harry-babasin-bob-enevoldsen-virgil-gonsalves-lou-levy-and-jimmy-rowles If I understand it all, the onlymaterial not in the box are the two Steve White sessions; The OJCs miss the Rowles trio; both do not include the Earl Hines material which is kind of an oddity in the label's repertoire, it was on one of the Chronological Classics Hines CDs. One question: Is the baritone saxophonist Virgil Gonsalves the same guy that played in the Electric Flag?

I'm confused: the quote from the Rhino site where they state they couldn't include some albums because the mono tapes were lost in a fire implies they used the original mono tapes; Kevin's post seems to imply the mono masters were made from the 8-track masters. Didn't they record direct to a mono mix back then? And did they use these masters for the reissue or mix new mono masters (the latter was the reason I never considered the Miles Columbia mono reissue).

All correct. Thanks for your empathy. I believe you, but some of my favourite Atlantic Coltrane is missing. With the extreme stereo spread of Atlantic recordings of the time, these must sound terrific. But, considering the short playing time of all albums, they could have reduced it to three CDs and made it a real bargain.

Xanadu 101 - must be the label's first LP!