mikeweil

The Taft Jordan LP Mood Indigo included on that twofer CD originally was on Moodsville 21, to be exact. Also, Ellingtonian Clark Terry was on Moodsville 20 and 26, not on Swingville. Prestige already reissued albums on another sublabel or rather series when appropriate, and Fantasy continued the method for the twofer reissues.

I find a nice listening companion is Roy Ayers' Atlantic LP Stoned Soul Picnic, especially since it also features Bartz and Tolliver:

It just occurs to me that I felt the influences of that group before I finally got to hear that album: I had heard Tolliver's Quartet on Strata East, Cowell's first, Bartz with Tyner and Miles and on his Prestige LPs before I got a copy of Members - so the feeling was like "Oh, that's where it started!" .....

Somehow it's hard for me to find the right words about this album. Originally it was a myth to me - I had found Drums Unlimited and later that Atlantic LP with the choir, but Members, Don't Get Weary was almost like a myth. I knew that only from inner sleeves, found that Max looked great on the cover and felt a strong vibe coming from that LP, since I loved Max, his strength and dedication, and all the players on the album. I found an Italian bootleg issue years later and it fulfilled its promise. The music may sound familiar now, but at the time it was a rather bold statement, especially since Max recorded so little in the 1960's - he paid a high price for his engagement in the civil rights movement. Compared to hard bop albums with similar players, this has a groove that's quite unique. Tolliver is more himself here than on Horace Silver's albums. It has black power written all over it in invisible ink. The pieces Tollover, Bartz and Cowell wrote are a new combination of bop and hard bop with free leanings and a harder groove not completely giving in to soul and funk - a higher degree of groove like the transition from bebop to hard bop. Max' groove to me sounds like the hard times he had to go through made him more self-confident on a different level. Considering he had to see Charlie Parker, Clifford Brown, and Booker Little go ..... and then being cut by the white agents ..... I admire him for all that. A survivor of his own kind.

Agreed - many Latin bassist, like Andy Gonzalez, still use it or newer similar models. But that Ampeg has a certain percussive sound that lends itself well to Cuban style playing. Don't know if it was solid body - will look it up.

My old Prestige Discography lists 41 Swingville LPs: 2001 Coleman Hawkins plus the Red Garland Trio 2002 Tiny Grimes - Tiny in Swingville 2003 Buddy Tate - Tate's Date 2004 Tiny Grimes - Callin' the Blues (reissue of Prestige 7144) 2005 Coleman Hawkins All Stars 2006 Rex Stewart - The Happy Jazz 2007 Al Casey - Buck Jumpin' 2008 Pee Wee Russell - Swingin' with Pee Wee 2009 Claude Hopkins - Yes Indeed! 2010 The Swingville All Stars 2011 Joe Newman - Jive At Five 2012 The Bud Freeman All Stars 2013 Prestige Blues Swingers - Stasch 2014 Buddy Tate - Tate-a-Tate 2015 Budd Johnson - Let's Swing! (OJC CD 1720-2) 2016 Coleman Hawkins & Eddie Davis - Night Hawk 2017 Buck Clayton - Buck & Buddy 2018 Al Sears - Swing's the Thing 2019 Joe Newman - Good 'n' Groovy 2020 Claude Hopkins - Let's Jam 2021 Shorty Baker & Doc Cheatham - Shorty & Doc (OJC CD 839-2) 2022 Jimmy Hamilton - It's About Time 2023 Hal Singer - Blue Stompin' (OJC CD 834-2) 2024 Coleman Hawkins - Things Ain't What They Used To Be 2025 Coleman Hawkins - Years Ago 2026 Dick Wellstood & Cliff Jackson - Uptown and Lowdown 2027 Joe Newman - Joe's Hap'nin's 2028 Jimmy Hamilton - Can't Help Swingin' 2029 Buddy Tate - Groovin' with Tate 2030 Buck Clayton - Buck & Buddy Blow the Blues 2031 Leonard Gaskin - At the Jazz Band Ball 2032 Benny Carter - BBB & Co. (OJC CD 758-2) 2033 Leonard Gaskin - At the Darktown Strutters Ball 2034 Henry Red Allen - Mr. Allen 2035 Coleman Hawkins - Blues Groove (reissue of Prestige 7138) 2036 Paul Quinichette - For Basie (reissue of Prestige 7127) (OJC CD 978-2) 2037 Buck Clayton & Paul Quinichette (reissue of Prestige 7147 Paul Quinichette - Basie Reunion) (OJC CD 1049-2) 2038 Coleman Hawkins - Soul (reissue of Prestige 7149) 2039 Coleman Hawkins - Hawk Eyes (reissue of Prestige 7156) 2040 Dixieland Hits 2041 Claude Hopkins - Swing Time I will gladly add more reissue numbers if provided. The series was a nice idea, documented some giants of the swing era at a time when they had little opportunity to record. Surprising how few Ellingtonians are among them.

Marylin Mazur is a percussionist from Denmark, currently with Jan Garbarek's group, among others - you must mix her up with somebody else.

Tarrantino had remastered the 16 CD box - I reckon they used his remastering, which sounds fine to these ears. I'm glad I have the big box - that two Ammons tracks and one Flanagan tro track were missing was hard enough for me. But this scattered multiple box business now .....

I'll try and play it again in the next days... That bass Merritt uses (on the entire album, btw!) is a so-called Baby Bass made by Ampeg - he was one of the first jazz bassists to use them. An upright with a small body and built in pick-ups, less cumbersome to travel with, but the feel of a double bass for the player. Sound was in between an acoustic and a Fender bass, depending on how you adjusted the controls. Actually I like that sounds he gets on the first track and think it fits the groove pretty well. Play it loud!!!

"When played wet"? How can you play a wet record? MG Lenco developped a system to moisten the grooves with a mixture of alcohol water while playing, to dissolve dirt in the grooves. It also works as a lubricant, slightly reducing friction between the stylus and the grooves. It works wonders on some used records, if they're only dirty, not worn. Has much the same effect as record cleaning machines using solvents. But you have to keep using it on the records once it was applied. Here's a pic:

I'm ashamed to admit that Jaki is right. The recent attacks on non-Europeans are embarrassing.

Got the Estrada Brothers CD on Milestone from an amazon seller, cheap and fast. Now I have to stop for some time!!!

It's your keyboard, after all .....

I'm afraid i don't own 'Young Blues' or the Jimmy Forrest OJC with Young, i assume they're of the greazy sort, right? Looks like you got four (!) more CDs on your wish list: Then there is the 2/3 album with Booker Ervin on a Prestige compilation, but that's not an indispensable item:

I have a few of his albums - especially the quartets are great!

I seem to remember that Eddie had also written an instructional book on how to play the reed trumpet (which he held the U.S. patent to). Maybe it's still available from his website. Hmmmmmm ...... if one looks there, one finds a reference to the reed trumpet on the cover of The Eddie Harris Intervilistic Concept for all single line indtruments.

Happened to stumble over this today and couldn't resist. This label makes nice reissues, ordered a Hummel pianoforte disc by Malcolm Binns along with it. And bought an Estrado Brothers CD on ebay. So much for my buying hiatus to save money for our new car .....

Eddie Harris stated it was easier on the chops playing with a reed rather than a bowl shaped mouthpiece. You could see the thing rather nicely on the cover of Free Speech.

I'll try my best to comment on the second half until then!

Yes, he was the greaziest on his early Prestige LPs, but chose to go for sophistication rather than the obvious - that's what makes him unique. Thinking about it - Don Patterson was a master at matching greaze with sophistication!

I'd say he was baaad, but not that greazy - not nearly as much as the Turbanator or anybody else. But he was baaad! (If he would have been more greazy, his two Arista LPs would have made it!)

C'mon, Sweelinck was a figure at the end of the Renaissance period until early Baroque! http://en.wikipedia.org/wiki/Sweelinck For an organ recital on the verge of modern presentation, try this Balbastre - it rocks!

I'm afraid the collecting gear could be somewhat cumbersome to wear - some direct rocket drive, that would be a real innovation ...

I once had an Italian LP on the Ingo label with the Rollins and Roach bands from that tour. Sound quality was lousy, so I sold it. Solos were too long, I thought. Only one and two tracks per side. The Roach band played Nommo at a rather hectic pace which killed the 7/4 groove.

Verve used the index figures to mark edits on their reissue of the Mingus CD Pre-Bird - maybe the Russell, too? or to index solos or song sections? No mention in the liner notes (in the credits to the Mingus they noted this)?