mikeweil

Geez - I grew up less than a mile from that church. That's the oldest in Frankfurt. Somehow that concert series ecaped me. Had no idea they had concerts like that in that venue.

Not an album cover, but a real nice one, and perhaps it was used for one, or another from that session? Abbey Lincoln, of course.

😅

Rhino and Craft are album fetishists now, not completists any more.

How do you like it? My copy has not yet arrived ....

Today's listening pile:

Excellent CD. Chombo Silva was supposed to perform on these sessions but suffered a stroke shortly before. So it became a heartfelt tribute. This was, btw, the last copy available on discogs.

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.