mikeweil

.... no matter: just the right choice for the drum chair! Keep us informed, please!

Since Sir Roland Hanna left us in 2002, I wonder what the latter might be ..... That article sounds rather identical to one I read several years ago when Hubbard tried a first comeback after recovering from his lip trouble.

Yes, and all the others you've been missin' ...

There was a CD on 32Jazz coupling it with Hank Jones' other Muse LP, Groovin' High, titled Master Class - harder to find, though ...

Impossible to top Christiern's and Nessa's posts - just plain Herzliche Glückwünsche from me! But sincere and swinging ones!

Soul Station was the first Mobley album to feature this round, warm sound that was really unique, completely his own, not as hard and loud as Trane, Newk, or Dex, but round - that's why Dex christened him the middleweight champion of the tenor saxophone, a very appropriate description. Hank's phrasing is very intricate, too, with a very definite accent on rhythmic contour that I don't hear in other players, always on the beat, not as loose as Rollins, not as funky as Shorter, again rather light but very distinctive. Very elegant, too - no randomizations, rhythmically, which you can hear with most other players - e.g. the rhythmic patterns of Trane are rather repetitious, in comparison. When Mobley joined Miles he joined the band at the possibly most unfortunate point in time - Miles was mad that Trane had left, and the tenor he wanted (Shorter) was reluctant to leave Blakey. He had to wait some time and no saxist could do it right for him - certainly not Mobley's fault. I never understood people just repeating Miles biased judgement, and the fragmented LP version of the Blackhawk recordings is the last place where one can hear the real Hank Mobley. Soul Station is a good place to start with Hank - Roll Call and the Workouts next, and then the trilogy The Turnaround / No Room For Squares / Straight No Filter, where he displayed a somewhat harder sound. Hank still is the middleweight champion, at least among hard bop tenorists. I learned a lot about him and understanding jazz from listening to Soul Station. And, the title is a classic!

That's a tune with Pete Brown lyrics from Cream's bandbook - her rendition is nice, but cannot compete with Jack Bruce. The right channel guitar sure sounds like McLaughlin.

Seems your brain resumed its original density thereafter ... I like the idea of linking jazz development to other forms of art - that paragraph on Jelly Roll Morton's early pieces as little musical dramas made me re-listen to these, and yes, that's a way to see it. It's natural you wrote it last; if only to justify throwing all these little pieces together - but really, it's a valid way of seeing things in jazz history, for my taste. Most importantly, it comes through that you really love jazz, not just write about it, like so many others.

I couldn't say it better - that was my impression when I saw him live ca. 10 years ago with Airto Moreira and Flora Purim. Interesting ideas initially, but he didn't go far with them. I found his playing on "Memphis Underground" was full of second-hand blues licks. I started a thread on his latest CD, an organ trio.

Finally got this - the want list is toooooooo long ..... a great book, one of the most recommendable jazz books I have encountered in years. The introductory essay is great! Belated congrats!

I like Broom's playing, and being not that much of a guitar man, this means something. I especially enjoy his treatments of pop standards - any on here? Geez ... still have to get me the last Deep Blue Organ Trio disc ...

This isn't yet listed on Chesky's website, I have it from SA-CD.net. Does anybody here know who's playing organ and drums on this date? I'm not a Coryell fan, but I might go for this ...

Simply give one to everybody in the contest ...

I finally got a copy of this late last year, for a decent price among the many over the top OOP OJC offerings, and my reactions, initially and today, are pretty much the same as Jim's. Rather "intellectual" music, and played with that type of attitude and feeling. Very interesting, but when I compare this to the guts Teddy Charles managed to put into his music at the time ...

I'd be willing to throw in $ 200 and order all the titles still interesting to me, but they'd charge $ 60 for Fedex shipping to Germany! Considering there will be tax and customs charged, the advantage of the € is more than gone ...

http://www.concordmusicgroup.com/artists/l...-Jazz-Classics/

Oh damn, I forgot what it was that I wanted to post ...

Download etc. is working fine - no need to send any discs.

Thanks! p.s. ordered the Staton - the Belvin is being reprinted.

As Paracelsus said, the dose makes the poison.

One of the towering figures in Cuban music - he will be missed. The rhythmic aspect is so much more prominent in Cuban bass stylistics, and he was the first great master of this in the 20th century. R.I.P.

Sorry to hear this. Her name popped up on quite a number of sessions, always with good results. My favourite date with her is Ray Crawford's Candid LP. R.I.P.

Started downloading - one part per day. Will report whether they unpack properly.

Was there no CD of this Dakota Staton LP? I'd buy this in a minute. Same for the Belvin - always wondered what he sounded like. I own that Eardley, but have not played it in quite a while - he sounds like a player from an older generation on that track. Hmmm ..... Have the Hawk with Thad Jones, bought it last year but played it only twice so far. Nice album. Red Holloway came to my mind, as did the Budd Johnson/Keg Johnson date, but ..... thanks for a beautiful BFT.

Sorry to be that late, but lots of unexpexcted work before our annual vacation didn't leave me enough time to write down my thoughts. As I anticipated, very interesting choices. Since the answers have already been posted at this writing, I simply drop names instead of posting links. These are my comments during first or at the most, second listen, without any external aid or looking at the others' guesses or the answers: # 1: If that ain't the Hawk, I dunno ... very nice track, I especially like the recurring riffing patterns of piano and drums during the solos. Very elegant pianist. But I think this is a Hawkins track I haven't heard before. Definitely a keeper! Osie Johnson on drums? # 2: Oh, I have that one and love it! Recognized it during the first bar! A real sax feast - every lover of all-star sax records should have that one. Great choice - I would have included a track from this one in a sax disc, too. Pony Poindexter's Epic LP "Pony's Express", with Phil Woods, Dexter Gordon ... a who's who of 1960's sax greats. # 3: I think I don't know that singer or at least I'm not very familiar with him - or her? I like it, would like to hear more! Good studio pros playing this good but not that original arrangement. I'd really know who that singer is ... # 4: No idea who that alto saxist is ... interesting player, but not 100 % my taste. Pushing a little too hard. # 5: A Rudy van Gelder recording? I have heard that saxist, but can't name him. "Falling in Love" - a nice mainstream version. The way they start the solos with those exchanges of sax and piano is nice. Should be some 1960's Prestige date. Osie Johnson again? I wish the trombone was as up front in the mix as the sax. # 6: Two tenors and a B3 organ ... I had hoped for an organ solo, but no ... not that original, on the whole. # 7: I find the playing a bit uneven on this track, and the lead alto saxists' intonation a bit off the rest of the horns. Clifford Jordan? Must be a 1970's recording, judging from the bass sound. Don't like the alto saxist. Trumpeter is nice, pianist could me more on point, rhythmically. # 8: If I'm not too mislead this is a Sonny Clark tune - a Blue Note album? Charlie Rouse on tenor? I probably have this. # 9: Tadd Dameron's most beautiful tune, "If you could see me now". This trumpeter is a swing guy, I'd say, inspired by but not reaching the level of Freddie Webster's playing on Sarah Vaughan's recording. I like the pianist's impro better than the trumpeter's. Another van Gelder recorded Prestige date? # 10: Clare Fischer's Orchestra, "Miles behind". Warne Marsh on tenor, Conte Candoli, Larry Bunker. Too bad they didn't credit the conga player - I have no idea who he could be - maybe Chino Pozo? This track includes some of the greatest sax section writing I have ever heard after the trumpet solo. I wore out a copy of that LP. Fischer is one great m...f... as far as writing for woodwinds is concerned. # 11: No idea again. I would have expected a more R & B type of groove after the intro - that post bop swing is too pedestrian for that saxist. # 12: Some very competent stylistically authentic swing playing. This convinces me from start to end. No idea who they are. # 13: Now here's an R & B groove. I know that singer .... arrghh! I like how she digs in. I'd buy this! # 14: I have or had that somewhere. Sonny Criss? No - Frank Strozier!!! Vernell Fournier on drums! This is from that originally unissued VeeJay album. I must play this during the next days! # 15: Wayne Shorter's great tune, "El Gaucho", played on two pianos. Who is this? I want this! Thanks for these great selections! Now off to the answers!