mikeweil

It wasn't a matter of focus, but of finances. Dorn wanted to do it on his 32Jazz label and had a release date set when the label folded. He did what he could to reissue LPs by the artists he worked with at the label. If it wasn't for Rhino as an outlet for Atlantic box sets, it would be a nice task for Mosaic to assemble the complete Atlantic recordings of Eddie Harris, Rahsaan Roland Kirk, John Lewis, the Modern Jazz Quartet, Yusef Lateef, in chronological order and, to keep it affordable, separate sets for live and studio dates. Dreams of a jazz fan ...

Prestige Trane Prestige Miles on LP Atlantic Village Vanguard Impulse Quartet Live in Japan Major Works Miles and Trane on Columbia

Yes, it's the one from Brandeis University.

It is on this album, and in a very nice Brazilian fashion! Sings too!!! He plays the North African stringed instrument, the ghembre, on Stanley Cowell's Regeneration.

Hank Jones and Kenny Clarke were for Savoy in the late 1950's. Every producer had his favourites whom he employed as often as possible, at least temporarily.

So you're boozed already?

Thank you so much for sharing this priceless story!!! You got a rough mix copy there at the session or afterwards? I love this arrangement!

If I had the mechanics to transfer LP to CD, I'd send to a copy to compare - in fact both versions would make a great two-part suite. A Jack Wilson - Roy Ayers Mosaic? My comment on this can be found at the end of this thread.

So this is the track I had but did not recognize, and not the Teri Thornton, which I identified after looking through my collection. (My personal BT rule # 2) Just compared the audio on the Blue Note CD with that on your BT - nice to have this as an example to demonstrate the effects of compression. The bad thing about that dreaded device that it changes the sound so much. BTW there is a way with better audio editing software to just raise the volume level without compressing. Compression is used more often than we would like to know - I just discussed this my bassist friend after rehearsal last night. A bassist, he argued, never plays all notes at the same volume level - even with the best technique some note or another will come out softer. But you never, never will encounter a newer recording where you will hear it that way, because the bass tracks are usually evened out and/or compressed. The argument is that volume fluctuations of a bass line would irritate the listener ... That track, BTW demonstrates how close these guys were listening to Tain, Woody Shaw etc.

The Cd I have is a French studio recording: Cammack and Muhammad are very good, Jamal is nice. Of course he is not as hot as in his prime. I have it with a different cover - they made three discs with that title, The Essence. I'm afraid any Jamal Mosaic is way out of reach - Jamal is sueing Universal: His original contract with Chess included a passage that he be asked before any subsequent issue, probaly to ensure his consent and payment of royalties. Universal has done three or four reissues without asking him prior to release, so he sued. I asked Mosaic and they replied, otherwise they would have done the Jamal trio with Ray Crawford long ago.

That observation confirms a few of my thoughts: 1) most drummers don't use the hi-hat in a creative way, just as a timekeeper - and if you make that accent with the brush, as Leon did, the hi-hat seems superfluous. It was funny - I started playing the drumset at around the time Leon hit the scene, and had the same thoughts about the hi-hat and the whole set, that a good drummer can swing a band with just a ride cymbal, went to the gig without a hi-hat and a similar minimalistic approach, and got plenty of strange looks. When I heard Leon it was a reinforcement of these ideas, but I find him to be very controlled in the sense of straight timing and predictability, even when he cuts loose - like on the ALIVE! album and the live track on his 32Jazz CD. I think he was the prefectionist of that trio. He certainly was on his own CDs, he doesn't improvise very much on the hand drums, and his sound on the conga is thin and his technique a little amateurish. The record where I like Leon Parker best is Geoff Keezer's "Other Spheres", where he handles the intricate arrangements with aplomb - and a hi-hat! And Jamal - his trio with Crosby and Fournier is hard to top. I like that CD with Muhammad. Seems he's growing old, musaically speaking. No wonder - but he really has played enough great piano for a lifetime. BTW - I remember Jacky Terrasson playing some hot hardbop piano on drummer Sebastian Whittaker's third CD "One For Bu!!" on Justice (http://www.justicerecords.com/) - anybody wanting a hot Messengers tribute is in for a treat, and it sounds terrific!

80 years ago, on March 26, 1924, Brew Moore was born. I thought this is an appropriate opportunity to remember his fluent improvisations and spin a disc or two of his. I'm sure he's having a great celebratory jam session with all the Brothers up there in jazz heaven, with Prez as the honorary guest!

That was a very cool idea, IMO. The plus of the trio with Leon Parker was the wide dynamics and creative approach to trio playing, using the Ahmad Jamal Trio with Israel Crosby and Vernel Fournier as a kind of reference point. The minus was that it is a little too controlled. Where I can listen to Jamal over and over again, the Terasson trio starts getting stale after a dozen listens and doesn't sound as fresh anymore. Just my opinion - I kind of lost my enthusiasm for them.

That Jerome Harris disc has just been added to my wish list ... I love bass clarinet and have always liked Ehrlich, a very underrated player that works fine in any context.

It's perhaps the overall sound and feel of this track that made so many think of Return To Forever and/or Flora Purim, but I find her colour and phrasing to be quite different, and the groove not like that band. Do they have longer tracks with solos on this disc?

Happy recovery to you and your family, and thanks again for some very smart choices. That quote really hits the nail on the head, as I've said, I wish they'd be a little more adventurous. You can't beat the memory of grandma's cake ....

... and whoever visits the board every other day doesn't get a chance to vote?

I had to vote for Soul Station - it was the first album that made me really love his playing, I still know several of his solos on this by heart. I dig most of them, but the Turnaround/No Room For Squares/Straight No Filter group of four sessions stands out to me, as a whole, and in chronological order. Where Soul Station announced his early 1960's comeback, these sessions announced his setting sails for new shores.

I voted for the quartet 10" LP - the tunes and his improvisation on them are so hip, adding a new dimension to Charlie Parker's innovations. Wish they would have coupled that with the All Stars album with Milt Jackson for a Connoisseur or RVG - they would make a nice combination!

Neither. I'm pretty sure that. spelling notwithstanding, it is pronounced Kwinn-uh-SHAY, Monsieur Storaire. Who in all the world brought that up??? If French spelling applies, it is clearly Kinishette!!!

Michael Cuscuna (whose name could well be listed among the frequently mispronounced) cleared this up in his notes to the Tina Brooks Mosaic box set: It's Tee-nah!

Yeah, Monk easily tops my list. Ellington comes next, but I doubt anyone could safely tell an unkknown Strayhorn tune from an unknown Ellington tune. Ornette is another abovious choice, and perhaps Silver. I think I could identify Geoff Keezer's tunes.

I found the Prestige sessions mentioned above somewhat disappointing, especially the percussion jams, which lead nowhere, and they have some problems with timing together, Blakey included. The band stuff was nice but not spectacular, and Walton does not sound too indentifiable on electric piano.

The track titles of that "Blow Up Extra Sessions" CD sehldonm mentioned indeed reads like another version of the Warwick bootlegs I described. Stay away from it! The Fresh Sound reissues give the most complete edition of this material, no matter if it's Donald Byrd with Herbie, or Teddy Charles without. (Noal Cohen and I researched the discographical data behind them)

Of course seeing it in a movie theatre beats the hell out of pretty much anything ... I'll see what I - or my burning assistant - can do about it - Thanks a lot to rockefeller center for technical advice!