mikeweil

That' what I would prefer - I like the new settings better!

I've somehow never heard of this. AMG gives it a RAVE. Is it still in print? ← Click here!

John Storm Roberts refers to this and other Calloway sessions in his books, but does not name the percussionist. Bruyninckx also has nothing more than Lord. The information is either buried in the vaults or lost forever ... Who owns Vocalion now? Could be any Cuban percussionist from an authentic dance band in New York at the time - Bauzá sure had the contacts. I will try to find the time to look for New York based recording sessions of Cuban dance bands at the time.

Well, I'd say Khalid Yasin, Larry Goldings, Sam Yahel have ..................................................................... sophisticated greaze !

Great! This will be heavy on the basses?

That's going to be a very interesting one, I'm certain!

Indeed!!! And the way Gary Bartz picks up his last phrase and continues is just as masterful.

Ahmad Jamal on New Rhumba from Chamber Music of the New Jazz. There are some extremely beautiful Ray Crawford guitar solos on that album as well.

This is one that almost always moves me to tears ..... Others: John Lewis on Django from the MJQ's European Concert - I know it by heart. Ron Carter on Survival Blues from McCoy Tyner's Extensions - so much humor and at the same time clever thematic improvisation. Ron Carter on Turiya and Ramakrishna from Alice Coltrane's Ptah, The El Daoud - some of the deepest roots bass playing I have ever heard. Prez on I Can't Get Started and Body And Soul on Aladdin - desert island music. Roy Ayers on Daddy Bug (the title tune) - so beautifully melodic you can't tell where the written part ends. Roy Ayers on Paper Man and There Is A Mountain on Herbie Mann's Windows Opened - the most rhythmolodic vibes playing ever. Almost any solo by John Lewis on Stitt Plays Bird.

Jon Balke is a Norwegian keyboarder/arranger - I have the first of his ECM CDs. Mini-big band, but without bass, added percussion used very interestingly, nice writing, but no ordinary swing rhythms - a style of his own. Sometimes it sounds a little like crime time music, but in a good way. Just listened to it a few weeks ago. Still like it.

Except that you get only the edited take of Moanin‘ from the November 27, 1963 session, and Blues Riff (take 8) from the same session is still missing; both are currently available only in the box set Riverside 12RCD-4408-2 - The Complete Riverside Recordings.

To me, a symbolic figure of the 20th century. R.I.P. to the drone of a ring modulator!

When I started compiling my own melvin Rhyne discography I wrote the following comment on the way the Wes Montgomery Riverside sessions were reissued: If one wants to build a Montgomery organ trio collection based on the single CD reissues, one has to buy the Original Jazz Classics reissues of the four original LP issues (OJCCD-034-2, OJCCD-144-2, OJCCD-261-2, OJCCD-489-2) and Milestone MCD-9261-2 and MCD-9298-2. But this way, one gets only the edited take of Moanin‘ from the November 27, 1963 session, and Blues Riff (take 8) from the same session is still missing; both are currently available only in the box set Riverside 12RCD-4408-2 - The Complete Riverside Recordings, although there would have been enough playing time left to include them on MCD-9261-2, MCD-9268-2, or on any of the Original Jazz Classics CDs. Wes' Riverside recordings are one more opportunity to discuss the validity of a reissue concept worshipping the original 12" LP issues in an almost fetishistic manner. There will come a time when all jazz lovers who still knew these LP's have died and jazz buyers will shake their heads at the scattered fashion in which these recordings were issued. These are the issues: Original Jazz Classics OJCCD-034-2 - The Wes Montgomery Trio Original Jazz Classics OJCCD-144-2 - Portrait of Wes Original Jazz Classics OJCCD-261-2 - Boss Guitar Original Jazz Classics OJCCD-489-2 - Guitar On The Go Milestone MCD-9261-2 - Encores, Vol. 2: Blue 'n' Boogie Milestone MCD-9298-2 – Dangerous To make things worse, the box set omits takes of Yesterday's Cild, Dangerous, Lolita and Blues Riff from the October 10, 1963 - Wes wanted to try them again after listening to test pressings, but after the next session on November 27, 1963, before the album was issued, Riverside went out of business - the new owners issued the album as compiled on the test pressing. This must have been bugging Keepnews considerably .....

Sad news .... That Randy Weston recording of "Where" from the Five Spot Jim mentioned was the first time I encountered his big voice. I fondly remember him from Start Trek - didn't he also play Captain Sisko's dad in the Deep Space Nine serial?

I'm afraid this can only be cleared by listening to and comparing the original issues - the French CBS issue CBS 465649-2 The CBS Jazz Piano Collection - Ahmad Jamal Volume 1 "The Three Strings" has a Perfidia running 3'54 and a Rica Pulpa running 3'49 - both attributed to the earlier session! Could it be they attributed new matrix numbers to these two titles when they used them for the later LP issue? Your source for the timings is the Mosaic issue? Or their online discography? Or other? BTW - this French issue has the first eight tracks and Slaughter ..., Old Devil Moon, Black Beauty, and Don't Blame me from the later session. CBS 465650-2 The CBS Jazz Piano Collection - Ahmad Jamal Volume 2 "The Ahmad Jamal Trio" has the remaining 10 tracks from the third session. Timings are identical with one exception: j. CO53904 It's Easy to Remember - 03:55 (Richard Rodgers, Lorenz Hart) runs only 2:54 on that French issue, no edit audible. I smell a mistake.

That's the cover my first warped copy had - not particularly charming.

I wish there was more of those late Django sessions - tehy have such a special aura .... Gonna get me the Reece and Harris OJCs some day, that's for sure. Great compilation!

Just listened to this - strange, but I keep hearing Rouse's tenor playing the first phrase of the theme - maybe there be some re-worked version of this tune undera different title? And was this written on the changes of "Nice work if you can get it" (hence the title)? Then It could be I remember some recording of the latter with Rouse .....

I wish her well, but IIRC people contracting hepatitis C at such an age rarely live beyond their forties ...

I'm on a buying sabbatical, but couldn't resist ordering the Ehrlich/Goldberg disc for $ 10 .....

I never saw this actress, but I know that hepatitis C is fatal, in the long run - my wife works in some institution hosting, among others, some former drug user that contracted the virus by use of contaminated needles - this can happen anywhere, not just in Bulgaria. Combined with the stress on the liver caused the heroin itself, this leads to cirrhosis and maybe hepatory cancer. Hollywood Babylon lives .....

You bet it is!!! I had the single OJC CD, then sold it after I bought the Riverside box set, and was suprised by the clearly more detailed sound of the SACD - and so far I have listened only to the CD layer! The mastering may play a substantial part - much better. You can hear the attack of the organ bass notes and all. I love all of Wes' organ trios - I love Melvin Rhyne, have all of his recordings except one rare Impulse by Buddy Montgomery he was on. My favourite among Wes' organ trios is Boss Guitar with Jimmy Cobb - wish they would release that one as SACD!

It could well be that the flood of later piano/bass/drums trio albums overshadowed the guitar trio recordings, especially as they were not as readily available. As I stated in my opening post, I was curious about them since the early 1970's but they were all out of print at the time. I once sent an e-mail to Mosaic and suggested they do that trio and they replied the material was tied by some legal hassles, otherwise they "would have done it years ago" - I guess that would have helped. When I read about the unissued material recorded for the Parrot label, I still wish they might do it - a verrrry nice Mosaic Select this would be. But since we now have these two new CDs, that will remain wishful thinking. I find these recordings as classic as the best of the Modern Jazz Quartet recordings - maybe this is to refined and well-conceived for hard bop lovers. But any Miles fan should know them - I'm glad he achknowledged their influence. Jack, have you read the passages about Jamal on the Parrot label site? I find it interesting that he started as a sideman in some Israel Crosby band, and then had problems with a bassist wanting to play "bebop solos" in his trio ... after this was settled with the local union he got Eddie Calhoun, Richard Davis (!) and finally Israel Crosby. Must have been quite a boost for him that this major swing era bassist joined his trio.

I really regretted not finding the time to listen and post any earlier - it's such a great compilation.

At last, my two cents ... the reasons why I am so late can be read in the AOTW thread I just started. What a pity, as this disc is lovingly conceived, carefully programmed and all - I loved it right from the start, but then fate struck and interrupted my listening pleasures. I have to admit that besides the lack of time I had to regain the right mood for this type of music. To make things worse, I can't locate my notes taken at first listen ... It's a great bunch of discs, will receive frequent replay, that's for sure. No AMGing or checking my collection, except for three items I identified right away, and no peeking at the others' guesses. Track 1: Great track, reminds me a little of Duke's "It don't mean a thing ..." - now is this Duke? It's good enough. Don't know this, as far as I can remember. Would buy this. Track 2: One of the few satisfying mixes of tango and jazz rhythm I have heard. No idea who they are. Nice theme. Nice soloists throughout. Trumpet has a touch of Dorham. Pepper Adams on baritone? Or his master disciple, Gary Smulyan? I hear some Barry Harris in the piano solo ... Gets nicer by the bar - who is this? (Being that late, I have the chance someone might have guessed, the only advantage of joining late.) Track 3: Modern neobop piano à la Corea's "Now he sings ...", but that's not him. Like the pianist better than Corea, although I'm not a fan of that fast type of jazz. But they listen to each other, do not overplay, build it up nicely - a very good performance, but not something I would buy. Track 4: Oh!!! What a nice surprise!!! A track I considered for my upcoming BFT next year .... Wonder how many got this, brownie, did, I'm sure. I wish he would have lived longer to develop more in that direction. Great stuff with a very special aura. Track 5: Almost silverish theme, I think I recognize Cecil Payne already in the theme, so personal is his sound. Yeah, that must be Cecil! I want this! Trumpet has some characteristic licks ... Arthur Taylor on drums? Or Lex Humphries? Interesting alto. Almost Blue-Note-ish in sound, but I would know if there was another Blue Note date with Cecil. Can't wait to find out. Track 6: Quite a leap back in time .... pianist sounds like he listened to some beboppers already, but the ain't none, to many unelegant chromatics, can't identify him. Track 7: First thought was, "this is an unreleased outtake from Tadd Dameron's last album ....", and in a way, that's what it is. Good solos, but shaky ensembles. More rehearsals and one more session, and we would have one more great Dameron album. Why did Alfred Lion abandon that project????? BTW - I still wonder why there weren't more comments on the Dameron AOTW. Track 8: I'm not well-rounded enough in this era of jazz, but this is another great track. Too much good music, as they say, and way too little time and money ... Great sock cymbal work! They swing like mad! Gimme more of this! Track 9: I guess Walt Dickerson - the delicate vibes sound and agile phrasing suggest this. If so, an early Prestige album. Excellent choice! Track 10: Huh? A piano solo after that sax section intro? Chaloff-like baritone. West coast alto cat. Mel Lewis on drums? Some licks are out of his book, but the overall drum sound is a little light for him. Excellent job, but not a must buy for me. I find the piano superfluous in this one, somehow. Track 11: I know that composition, but can't put my finger on it. Like that trumpeter very much. Blue Mitchell? Don't have the time to check his Riversides, which have a whole LP and several tracks in a quartet setting. That bass sounds like Sam Jones. Roy Brooks? Track 12: Two altos, vibes, bass and drums? Hutcherson? I don't listen to that type of thing too often, but this is nice. Track 13: I have too little of good swing era music in my collection, that's for sure ..... but that could be Basie. Is Quinichette among the tenors? Lestorian cats ... the end theme is an old Basie warhorse, IIRC. Track 14: Monkish humor in the theme - yeah! I like this kind of thing very much. That mellow trumpet sounds familiar. This pianist understood his Thelonious pretty well. Excellent choice - who is this? Track 15: More Blue Note Dameron! Classic stuff! Nobody else could write so smoothly shaped melodies. Track 16: I hate to repeat myself ... great swing era music!!! Track 17: Another good piece of music where I can't identify anybody, though the tenor sounds familiar. Martin likes good baritone players ..... Track 18: Very humorous again - Mingus-type writing. Is that Jaki Byard at the piano? Trombonist is a limited player who can't really take off, in spite of the ryhthm section heating it up underneath. Alto cat is more interesting, has more resources at his disposal. That's a three star selection. Disc two will have to wait until tomorrow - thanks for now - great choices!!!