mikeweil

Played the same two discs yesterday!

I once had a copy of the first volume on LP, but sold it later as I thought the same as you. But reading Ted Gioa's blog post made me want to reconsider my judgement. I ordered a Storyville compilation including a few of these tracks to find out. https://tedgioia.substack.com/p/my-favorite-jazz-holiday-story-lester

Two of the five previously unissued takes exclusively on the vinyl set. Duh! As if there wasn'r any space left on the CDs.

Hi all, has there ever been a box set covering all the December 1956 recordings of Lester Young at Olivia Davis's Patio Lounge, Washington, D.C, or do I have to go for all the individual OJC CDs`? Below is the cover of the first in the series.

To me she like she is stresses by the recording situation because she wants to be more than perfect. Lucie Horsch sure can play, but I find some phrases would have sounded better if she had kept Bird's exact phrasing. Same here. I had a classmate who played some nice things on a tenor recorder, but I simply didn't have a real affinity for the instrument. But there was a new music scene employing recorders that started around that time adding new repertoire to the recorder book. Right now we have a big bunch of excellent recorder players all over the country. In Jazz, I remember Jiří Stivín as an impressive soloist, but mostly on sopranino recorder and more for a gimmick. But he was, of course, trained with baroque music:

Ah, I see ....... The whole cast is exceptional. Much more than on any other Verve album by Ben or Hawk.

This one? That was the original cover of one of the albums:

All of Webster's Verve albums were reissued on single or double CDs. The "& Friends" above was a single LP, although there were double LPs in that series, too.

I think that is one of the reasons, or perhaps the main reason for the success of this session. Yesterday I re-listetened to the first Norman Granz studio jam session with Charlie Parker, Benny Carter, Johnny Hodges etc., and it follows the scheme of the JATP sessions, mostly up tempos, a ballad medley for change of pace, and this leads to a cutting contest stereotype with flashy solos. Oscar Peterson also is a factor with his adaptable but rather formulaic approach with a tendency to display his technical prowess. Jimmy Jones on the Ben Webster And Associates session is totally different from Peterson in all ways. I just ordered the Harry Eddison album with Webster where Jimmy Rowles is on piano and am curious how much of a difference this makes. I experienced the same thing when I played in a quartet of a singer backed by piano, bass, and me on percussion. We rehearsed Monk's Straight, No Chaser and it resulted in rather routine blues changes improvisations. So I suggested we change the solo routine: Intro with just walking bass and voice during the first chorus, conga and piano throwing in accents during the second, followed by the fours of voice and piano with the congas. Then the bass solo, then the voice scatting, the piano, and the end theme with the whole band. It worked wonders and during the first gig with this arrangement the bassist played his ass off. We all were alert as we had to pay attention to what comes next.

Like JSngry said: https://www.discogs.com/master/821921-Dizzy-Gillespie-The-Verve-Philips-Dizzy-Gillespie-Small-Group-Sessions All the Philips dates were small groups and are included.

I am curious what classical music the organissimo board members hear in concert - from medieval to baroque and classical, romantic, to brandnew compositions of living composers. JSngry hipped to this existing thread, so I decided to copy my two recent posts here. Yesterday afternoon - April 1, 2023 that is - my wife and I took the trip to a small Frankfurt church that has a short Vesper on the first Saturday every month. Cellist Leonie Maier and harpsichordist Ortrun Sommerweiß, my favourite among those who graduated from the Frankfurt academy in recent years, played cello sonatas by Lanzetti, Geminiani and Telemann, and a solo harpsichord sonata by Haydn. It was excellently performed. A few weeks ago we saw Alexander von Heissen perform his concert exams with harpsichord concertos by J.S. & C.P.E. Bach and Joseph Haydn, and a wide range of solo pieces a week later, from Byrd to Bach. Wednesday evening (April 12) we saw another Frankfurt student play her exams concert, Seulki Bae from Korea, in a well programmed and performed solo recital on a copy of a Henri Hemsch harpsichord built by Christian Fuchs (whose workshop happens to be in the 18th century building my grandparents lived in). Great pieces by Geminiani, Gerd Domhardt (a 20th century composer), J.S. Bach, Johann Mattheson, Händel, Christian Gottlob Neefe (Beethoven's teacher in Bonn), and a flute sonata by Louis-Gabriel Guilleman which was a real tour de force for the flutist. We could talk briefly to the period performace department director, she was delighted to see us again, and even more that we will attend most of the concerts by her students. The was a choir rehearsal for a welcome performance for the newly inscribed students - this really is a house full of music! Let's revive this thread!

R.I.P. That's shocking news, even considering his age. I adore his trios with Ray Crawford, and the later ones with Crosby and Fournier.

Double CD reissue.

From the Jazztet Mosaic box set.

1995 double CD reissue.

It was part of the Mosaic Jazztet box set.

This afternoon:

BTW - I had overlooked that this subforum was changed to "Album of the Month" before it went asleep, so I changed the thread title accordingly. This gives us more time to discuss it. Do you know similar studio jam sessions that go along at such a relaxed pace with similar results? Would these meet my expectations? I only have the first with Charlie Parker in the Parker Verve box set.

AFAIK these are the only recordings from the Jazz Galerie ever released.