mikeweil

I think this two volumes Copenhaguen concert it´s OOP, but I´m not sure. The SteepleChase site lists them both as available: (link)

I have this on the Swingtime ST 1004 LP Coleman Hawkins Vol. 1 (there never was a Vol. 2), which says "probably Los Angeles, early 1945". I don´t have my copy here, but I believe it says something like "...the exact recording date remains unknown, but it´s supposed to be recorded about two years before he recorded his famous "Picasso" for Norman Granz..." The Swingtime issue liner says: (Signed "Morgan")

I have this on the Swingtime ST 1004 LP Coleman Hawkins Vol. 1 (there never was a Vol. 2), which says "probably Los Angeles, early 1945". I enjoyed the bonus disc even more than the first one - the Buck Clayton jam session will be one to get! No Sweets here, but Emmett Berry!!!

I already became curious about that Donald Lambert when I read through the stride piano thread - it's a relief this seems to be avaialble. A few surprises here - Paulo Fresu etc. Will have to listen once more with the list at hand. Muchas gracias - I hope to return the favor soon!

You got it, Flurin! ..... and we will have a hard time guessing al the other leaders and sidemen!

He had some nice records out in recent years, among them a Melvin Rhyne organ trio on Savant. Here's his website - although I have problems viewing anything. I can't even get a source code ...

I did successfully exchange PMs with one board member, but did not get any e-mail notifications. Strange.

Then why were the other LPs all under Pearson's name and for other labels?

Same here. For a Lester Young tribute, Byron messes around too much, and his tone is not as sweet. Why do they record after only one day of playing together? I will have a listen first before buying.

You bet ...

Well, not the best team overall, but they make the best out of a chance to score one! These goals were beautiful. Brownie wanted goals - I'm glad he finally got some!

I think the discussion is much more important than correct guessing, anyway! Very much looking forward to this!

If it's all business, no wonder he doesn't post here: This board is fun!

Here' a link - nice site that is!

I think the pace is next to perfect the way it is, but agree compilers living in the more remote areas of the planet should start their signup thread and mailing early. I think one BFT each month is okay - at a faster pace some might not be able to keep up. I understand the time one has to wait is long, but it's worth it ... and there should not be any restraints as far as selection of titles is concerned. These test are not (just) to please the others, but to show tracks you appreciate. Polls on what some participants like or dislike would perhaps put unnecessary pressure on new compilers.

Xocia's Dance was on a Muse CD as well. I once had the LP, my copy played fine.

Wish I had. The poor fellow probably has found some hole to hide ...

It ain't me, babe .... (this guy even lives close to my place!) Check out that band! (Click here)

Well, that one statement is wrong: Although Blackburn called Mobasa's (not Mombassa's) music "New African Jazz", it never had any members born in Africa. I followed the lineup closely, and all were Afro-Americans in Europe, among them trumpeters Carmell Jones (yes!) and Doug Lucas (very fine fluegelhornist living in Belgium who composed some nice tunes), conga drummer Tom Nicholas and drummer Doug Hammond.

PM sent: I'd hate to miss one!

Well, Pearson the arranger obviously preferred a three or four horn front line - tp/as/ts or tp/tb/as/ts to the standard tp/ts lineup. And he wrote great stuff for all kinds of three to seven horns. The first Blue Mitchell Blue Note was directed by Joe Henderson - at least that's what the Mosaic booklet says. Henderson collaborated with Pearson too - maybe there was some influence or shared ideas? Both albums were recorded within one month (July and August).

Coles is on three other Pearson LP's: the two on Atlantic (reissued by Koch) and the one for JazzLine with the unique two-trumpet front line - this was reissued as "Groovin' For Nat" on Black Lion under Donald Byrd's name. As I understand it, Coles was a member of Duke Pearson's working band off and on from 1961 to 1966 - maybe he asked Pearson for assistance and /or Pearson talked Alfred Lion into recording this album - who knows? "Little Johnny C" preceded Pearson's two Atlantic LPs. I have always asked myself why Pearson did these two albums for Atlantic, anyway, and not for Blue Note.

Thanks for that detailed analysis, Nate! Once more Hawk has revealed as a link between swing and bebop. Bean rules!!! The Bean's unaccopanied solos in one place would be something to burn. I know about two of them: Picasso Hawk Variation, Pt. 1&2 Are there any more? I still have to get the rainbow Mist CD on Delmark. Any on there? That relation of Dolphy to Bean was observed by Eric Miller in his liner notes to the Dolphy Prestige box set: where he was melodically and Harmonically very advanced, his rhythmic phrasing was pretty much like Hawk's.

Brashear's first major gig was in the trumpet section of the 1970's Basie orchestra. He was a member of Bobby Hutcherson's group in that decade, and can be heard on some of Bobby's Prestige LPs of the time, maybe also on the Bayété LPs. There are a few Black Jazz sessions he solos on with his trademark fiery tone, e.g. Henry Franklin's "The Skipper" and "The Skipper At Home", where he plays good solos. After that he did mostly section work in Hollywood studios, with an occasional fiery solo; one is on Joe Henderson's funky "Black Miracle" album on Milestone/OJC.