mikeweil

On a cheap amp and speaker you won't hear much of a difference, that's for sure. On a better system, you will, I had similar experiences with my wife and other non-HiFi-oriented people. The better the CD player, the more carefully the parts are selected, and the better the mechanical part works, the less calculations and digital error corrections are necessary, and this make the music sound more organic. I'd be afraid to clean the lens, the risk of damaging the surface is way too high. I'd try cleaning the CDs with a CD spray or plain alcohol and a soft cloth, always in a centrifugal direction, to exclude it has something to do with the CDs, after all.

I promised somewhere to post a list of recent Lucky Cd releases, and this seems to be the best place for it: Candid CCD 79035 Lucky Thompson - Lord, Lord, Am I Ever Gonna Know? Classics CD 1113 Lucky Thompson 1944-1947 EMI 7243 539651 2 Lucky Thompson - Americans Swinging In Paris EMI 7243 539652 2 Kenny Clarke - Americans Swinging In Paris ensayo ENY-CD-3471 Lucky Thompson - Soul's Nite Out *Fresh Sound FSR-CD 114 Ralph Sharon - Around The World In Jazz Fresh Sound FSR-CD 138 Jack Teagarden - Accent On Trombone Fresh Sound FSR-CD 199 Lucky Thompson - Lucky Meets Tommy And Friends *Fresh Sound FSCD-2001 Lucky Thompson - Accent On Tenor Sax HighNote HCD 7045 Lucky Thompson - Lucky In Paris IAJRC CD-1001 The Tenor Sax of Lucky Thompson Indigo IGO CD 2104 Lucky Thompson - Smooth Sailing *Impulse/GRP 1-135-2 Lucky Thompson - Tricotism Jazz Factory JFCD22843 - Lucky Thompson - Complete 1944-1947 Recordings Ocium OCM 0038 Lucky Thompson - Lucky Moments Original Jazz Classics OJCCD-194-2 Lucky Thompson - Lucky Strikes Prestige PRCD-24144-2 Lucky Thompson - Happy Days RST Records RST-91537 Fletcher Henderson Sextet 1950 RST Records RST-91736 Fletcher Henderson Sextet *Savoy/Denon SV-0110 Milt Jackson *Savoy/Denon SV-0172 Milt Jackson *Savoy/Denon SV-0173 Milt Jackson *Savoy/Denon SV-0175 Milt Jackson Universal 013 038-2 Sammy Price & Lucky Thompson - Paris Blues Universal 159 823-3 Lucky Thompson / Modern Jazz Group *Verve 314 543 752-2 Introducing Jimmy Cleveland And His All Stars *Vogue 74321 40934 2 Lucky Thompson - The Complete Vogue Recordings Vol. 1 *Vogue 74321 55950 2 Lucky Thompson - The Complete Vogue Recordings Vol. 2 * means they are OOP AFAIK. Some of the Milt Jackson Savoys are still listed as available on the new Savoy website, so try your luck. The Jazz Factory seems to be a takeoff from the Classical release. There were some more with less important sideman dates as well, here I decided to list only the highlights among these or readily available discs.

The French Jazz Anthology CD 550 152 from 1990 I have has the following tracks: 1. Undecided 5:19 2. My man 3:53 3. Dark Eyes 5:01 4. Too Much 3:49 5. A Ghost of a chance 6:27 6. Romeo's gone now 4:10 7. Loch Lomond 5:59 8. Raindeer 5:07 9. Look! Four Hands 3:41 10. Time For Lyons 4:58 Total time: 48:40, which is more like a 1950's LP. But the minidisc you have was indeed an LP from the 1950's, I have a copy of that one on cassette tape. What a mess! These sessions deserve a definite completed reissue more than many others!

All ten tracks are on this newly released Fresh Sound reissue: Moodsville Coleman Hawkins Quintet Featuring: Coleman Hawkins (ts), Thad Jones (ts), Eddie Costa (p,vb), George Duvivier [bass), Osie Johnson (d) FSRCD 343 PRICE: 8.80 EURO Tracklisting: 1. Moodsville 6:12 2. After Midnight 4:45 3. Bean in Orbit 6:03 4. Stalking 9:02 5. Hassle 6:30 6. Cross Town 5:04 7. Shadows 5:42 8. Cloudy 5:35 9. Stake Out 6:15 10. Almost Down 8:55 Recorded in NYC, 1960. Originally issued on the Crown Label.

Once my wife blindfolded me with a trio track from this, and I didn't recognize Jordan. Besides telling me that I don't listen to that often enough, it tells me that Jordan is not as recognizable as other pianist of his generation. The best Duke Jordan I have heard so far is on the Paris live session of Barney Wilen with Kenny Dorham.

Drew was always excellent on his sessions for Blue Note, I bought Jackie McLean's Bluesnik for him and was not disappointed. With Drew the Green guitar quartet is somewhat tighter than with Sonny Clark or Herbie Hancock. I like it.

Happy Birthday, deus, many happy returns and a belated warning of the birthday threads - they only make you notice you get older, that's why I avoided looking here

Since he missed his appearance with the Basie Band for the "Sound of Jazz" broadcast, it was. The existing CD runs for 57 minutes, so it is doubtful all the unissued material would fit on one CD. But two discs and performance order sure would be nice.

I have the Basie/Lambert, Hendricks & Bavan, and love it! Quality is okay, and the interviews segments are priceless!

I hope they DID pay you, at the least?

That's why I don't have any wallpapers here - I'd vomit every time I entered the room!

Haven't heard it so far, but I know this material comes from the same concert as the tracks on the "Here" live LP on Galaxy, which was included on the "Here and There" CD on Fantasy discussed above. So I guess it's in the same vein. For anyone interested: Cal Tjader (vibes, timbales, guiro, cowbell) Clare Fischer (electric piano) Bob Redfield (guitar) Rob Fisher (bass) Poncho Sanchez (congas, bongos) Pete Riso (drums) The Great American Music Hall, San Francisco, California, June 17 & 18, 1977 Tu Crees Que Galaxy GXY-5121, Fantasy FCD-24743-2 Liz-Anne - - Morning - - Here - - If - - Gary's Theme - Cuban Fantasy Fantasy FCD-24777-2 Guarabe - Tamanco no Samba (Samba Blim) - Tu Crees Que? - Silenciosa - Descarga Cachao - Manuel Deeghit - Guachi Guara - Note: ?Gary's Theme? was omitted from the Fantasy FCD-24743-2 CD issue due to playing time restrictions.

(Sigh!) Another item for my long wish list! Always loved his voice! First heard him with Horace Silver and Gary Bartz, but I have too few of his records.

I used to read through a copy of Billnboard every now and then, step over the 8-track charts and think "What the heck is this?" This format never was available in Europe, only in the US shops reserved for US citizens. An American friend of mine had some interesting titles and I was mad I couldn't play them - he couldn't lend his machine to me.

I bought it several years ago in its first incarnation on Night Records, a previous Joel Dorn label. This was distributed by Virgin in Germany and sold out very cheap ... you still can get them cheap on ebay.

VME stands for Verve Master Edition - a CD reissue series in deluxe foldout digipak design with new remastering, bonus material if available, and new commentary added to the original liner notes - and sold at high price level. Covers look like this compared to the older version pictured above:

Tracklist from cduniverse: 1. Introduction By John Hammond 2. Swingin' At Newport 3. Polka Dots And Moonbeams 4. Lester Leaps In 5. Sent For You Yesterday (And Here You Come Today) 6. Boogie Woogie (I May Be Wrong) 7. Evenin' 8. Blee Blop Blues 9. All Right, Okay, You Win - (bonus track) 10. Comeback, The - (bonus track) 11. Roll 'Em Pete - (bonus track) 12. Smack Dab In The Middle - (bonus track) 13. One O'Clock Jump - (bonus track) That's the same tracks as on the 1989 Verve CD, only that this marks 8-12 as bonus tracks. Nothing new it seems. According to Buyninckx, four more titles were performed that are unissued: 14. Jumpin' at the Woodside 15. Corner Pocket 16. Shiny Stockings 17. April In Paris Session order would be: 1-2-14-15-16-17-8-9-10-11-12 with the regular band 3-4-5-6-7 with Jimmy Rushing and Lester Young added 13 all the above plus Roy Eldridge and Illinois Jacquet So they simply repeated the messed-up order of the previous LP and CD issues.

That's one on my wish list. Curious how Thad Jones and Ben Webster go together. Too bad they didn't include the alternate takes Orrin Keepnews had added to a Milestone Twofer release of that album in the 1970's!

Didn't know this existed, sure would like to hear it ( )! Jimmy Giuffre, Lenny Popkin and Ian Underwood - what a reed section. I bet a list of all the Lennox students would read pretty wild. Maybe that's where Don Ellis met Dave MacKay, the first pianist of his big band in California and fellow member in the Hindustani Jazz Sextet.

Yuo're always early? I guess so ...

Last chance for comments before # 6 hits our ears .... The Max Roach Quintet, sans piano, that's another fascinating but neglected stream in modern jazz history. For Max the turn came after Brownie's death, when Kenny Dorham was in the band. They recorded the notorious 3/4 album still with piano, one for Argo with piano, but then there was one without, with Mobley, and for the next few years Roach featured quintets sans piano. I bet Roach and Dorham cooked up that idea together, as Dorham recorded without piano for Riverside around the same time. Besides the EmArcy albums there were albums for Time, Riverside, and Candid. The absence of these albums from the Mosaic makes for an incomplete picture, IMO, especially 'cause one of Max' most important albums ever, "We Insist: Freedom Now!", was among them - probably too political in nature for Bob Shad, the producer at EmArcy, or for the label. In Roach's case I really can imagine he found the presence of a piano restricting, as his rhythmic commentaries to the soloists may have tended to clash with those of pianists, it would be very interesting to compare his playing with and without pianists - on the other hand, Mal Waldron, whom he hired after the piano-less bands period ended, was a "heavy" pianist, rhythmically. But the main reason for excluding a pianist may have been the experimentation with unusual time signatures: no other band at the time, not even Brubeck's, played more pieces in 3/4, 5/4, 7/4 and 9/4. The role of Roach's quintets for this aspect of jazz rhythm is almost totally underestimated, IMO - but this is an aspect of rhythmic exploration many musicians still avoid, as it is more difficult to swing or groove in these time signatures than in common 4/4 time. On a bottom line, Roach and some of the members of his band at the time, especially Tommy Turrentine and Julian Priester, have not been given enough credit for their innovations.

Two disks again??? YIKES!!!

Same here! Expect it to hit my mailbox any day! p.s. We're only in it for the fun - and the post count - aren't we ?

There a two by Mitchell and Cook from the time they were still with Silver on OJC, originally done for Riverside or Jazzland: The Muse dates are all good, besides his two there were some with Bill Hardman (they had a band similar to his teaming up with Mitchell, saw it live, was great!) and one with Mickey Tucker. His quartet date for VeeJay (released on Affinity) is good, too. Haven't heard his SteepleChase dates, but suspect they're okay. He was a role model for a musician always appreciative of his peers. AMG entry

One LP of the Poppin' and Burnin' (a Wes Montgomery quote on Farlow, BTW) was compiled from previously released material, but the other LP was an unreleased session with Oscar Pettiford on cello that was only partly successful due to the rather stiff playing of drummer Henry Bellson (Louie's brother).