mikeweil

Correct, that would make him the first, but it was not issued at the time, it seems. Matrix numbers have the prefix "hl", was that for the Hi-Lo label? There is a Jefferson session from July 1952 for Hi-Lo later bought by Savoy.

... for which Eddie Jefferson wrote lyrics to tenor saxman James Moody's 1949 improvisation on the standard "I'm in the Mood for Love." This is in dispute among vocalese specialists. Jefferson didn't really claim the lyrics for himself, he wrote another set of lyrics later on, and the topic and choice of words is more like King Pleasure. We'll probably never know. The story about Annie Ross being in the choir for the first attempt to record "Sing a Song of Basie" is correct. The complete story is in the booklet to the excellent Verve reissue of this LP, which as a bonus includes Hendricks' and Lambert's first joint effort, their take on "Four Brothers" from May 1955. Jefferson own first vocalese tracks were recorded for Prestige in February 1953, so chronologically, King Pleasure was the first.

This is my favourite Bartz, along with his playing on the Cosmos sessions. Plenty of fire and great intensity - he was great in Roy Hargorove's Crisol project. Back then when it was new, I played one of the Harlem Bush Music LPs to groove exhaustion!

Now why don't they put that one out? Are they afraid of paying royalties?

Very appropriate comments about the Spaulding version as compared to Monk's. This is the one Monk album that has a very specific aura and sound, like no other LP he did, and it's not only for the band members or the reputedly difficult compositions - it's the whole thing, like sculptures with very bold and edgy outlines - that's why the Easter Island image is so fitting. Maybe Monk took some extra time out to write the new pieces, after two LPs for the label with none of his own. Keepnews wanted to show to the world that Monk was a COMPOSER, and deliver he did! He looks like he's in very good spirits and healthy on the cover!

'twas in the mail this morning, gave it a quick runthrough, very nice, especially the last track, but I have no idea .... but there is one saxist on it, at last, that has been mentioned at length in one of the previous BT discussions Thanks a lot, for sure! I knew you'd give me a hard time with your extensive collection of European (?) gems.

Randy, how's the view from your window? Wanna see it before I sign up

R.I.P. I always liked his playing very very much - first heard him on some Tom Scott Quartet albums. The 2nd, "Rural Still Life" on Impulse! deserves a reissue in the Universal mini LP series. He had it all down, and a very nice sound for rock-type things. Very sorry to hear this.

Does anybody have details on Tony Williams' 1993 Atlantic album "Unmasked", personnel in particular. Hadn't known about this. Anybody heard it? As Always, thanks ...

Yes it was Chameleon if I remember correctly, Darrel Diaz, couldn't recall his name. Herbie played his great rhythmic stuff that I admire so much. Have to get me this DVD. Tony did two rock albums for Columbia calling his band "The New Tony Williams Lifetime", with Allan Holdsworth and Allan Pasqua. The first "Believe It" is great, the second is marred by bombastic Jack Nitzsche arrangements - maybe that was a key experience leading to his compositional studies But is the one you're talking about the 1993 Atlantic album "Unmasked"? Never heard that one - how is it?

Would fit on a Mosaic Select I'd buy on the spot! Judging from the tracks in the Giuffre Mosaic and the MJQ disc reissued in Japan, they sound beautiful!

There are vocals a lot worse than these, and the groove is always right, some sure is funky. I like 'em, I'll probably get the Conn although I have the LPs. Now let's see the Silver'N' series as a Mosaic Select, and we had 'em all.

Sometimes it's an unofficial deal between a musicians and another musician or a producer or publisher, sometimes it's a gift - as in the case of the first "Milestones" which was presented to Miles by John Lewis, sometimes it's plain robbery first come, first served. You then have to prove you have written it earlier, and that is very difficult. The music industry does not seem to care much, as long as the copyright is registered for X, it will be credited to X, even when it is established knowledge it was written by Y, and the copyright was given back, e.g. Eddie Vinson's "Four" and "Tune Up". Where did you get "Solar" is by Chuck Wayne? I would have guessed Bill Evans.

I like the Dream band very much and can recommend it, Mel Lewis is quoted on one of the CDs as saying, this band was not better than his or Jones/Lewis, but as good. Sometimes he is too much on the exuberant virtuosic side, especially in the small group recordings I've heard, e.g. those with Buddy de Franco, which didn't reach me. One that I really love is his Latin Jazz album The Latin Connection on Contemporary, one of the best vibes records in that style with great sidemen.

We're now talking about three bands: 1. V.S.O.P. with Freddie Hubbard. I found that very interesting, because these guys were a pool of players popping up on about every other Blue Note LP, and often were playing more progressive stuff than with Miles - remember Tony's notion he wanted to play with Cecil Taylor? Compared to some of the adventurous stuff these guys did on some Blue Notes, I found VSOP leaned a little too much towards the Miles quintet. Legitimate, of course, but not adventurous enough for my ears. 2. That Tribute band with Roney - As far as I can see our thoughts concur on that one. 3. The Tony Williams quintet with Roney and Pierce - I conceive their style to be influenced by Miles' quintet, but basically they're rhythmically more in the pocket. Someone called them Tony Williams and the Jazz Messengers ... Too bad Tony couldn't pursue the new path he had been set for ... a new electric band. I ALWAYS liked his writing very much, and with the new band it was like hand in glove. I saw Roney with Herbie's Future to Future band - he could have played more, played some Prince of darkness attitude in a way, from the side of the stage. Refused to solo in the encore - Herbie's 2nd keyboarder took the opportunity and played a GREAT solo, even Herbie applauded. Must be very very difficult to step out of Miles' big shadow ... What's Roney doing right now?

Hit # 2: Note the series name "Out Jazz" !?

Here 'tis - I knew I had seen it somewhere:

Is that the LP? (Frankly, I doubt it, rather not a later reissue of 1331, it has # 1553)

Seems only recordings NOT bought by Fantasy were reissued on Black Lion, but not all of them (the stuff by lesser known Scandinavian musicians being the exceptions).

Haven't some of these been reissued on Collectables? Sometimes they make odd combinations for two LPs on 1 CD. Collectables

As Jim Sangrey said, it's not bad, but all that tribute sh.. is a pain in the neck and probably done for monetary reasons in the first place ... nothing there that beats the original. Had this disc, but didn't move me enough to keep it, but not bad ... they played in Frankfurt at the time with Dave Holland for Carter but I didn't go after hearing the disc and reading the admission fees.

Wasn't the sessions with Draper a reciprocal thing, since Trane played on a Jubilee Draper session as well?

What is this thing called jazz, this funny thing called jazz .....