mikeweil

I think in addition to all said above, which I think is completely correct, especially what Jim said, it is essential to listen to Monk and the way he improvised on the tunes, kind of re-composing the tunes in many a solo. Running the changes is absolutely not what playing a Monk tune is about; it is playing the melody with its exact rhythmic twists and getting the mood of it, and keeping the whole chorus, its structure in mind. Frankie Dunlop's drum solos on the Lincoln Center concert are a fine example, or the solos of all involved there. I'd try to improvise on them without the changes!!! That leads your attention to the melody (I second Jim's thoughts on this!) and the SONG itself. The changes definitely are NOT the piece, they never are with no jazz tune - they are just a scheme we figure out. Only one aspect. But with Monk - take away the melody or its rhythm and there it goes. A world of its own, yes, but with so much to learn from. If Coltrane did learn some from it, it's good enough for all of us.

Ironically, though I love to hear Sanders and Henderson together, it is the trio track on Ptah the El Daoud with its deep blues feeling and Carter's heartfelt solo that I love the most on that album.

Well, I mentioned Louie Bellson, who is white, and actually this is kind of a quote from an interview with drummer/percussionist Milt Holland in down beat many years ago who said he studied the African-American drummers (he mentioned Catlett) because their playing sounded much smoother to him. I think for the players up to Buddy Rich's generation, he's right; after that the "whites" have catched up - if you look at the Jazz drummers hall of fame thread I started there are about as many white as black players listed. No racism intended.

I think this applies to pianists in particular who cannot avoid Bud Powell influences, or those of newer pianists, from Bill Evans over Wynton Kelly, McCoy Tyner, Herbie Hancock, Keith Jarrett, Chick Corea ... maybe this is what makes Marcus Roberts sound so attractive to my ears, he seems to try and re-invent modern jazz piano by using older styles, Morton, Ellington, Johnson, up to Monk as a foundation and go from there. He knows the newer players of course, but draws not on them as overtly as most younger players.

Contrary to the Moody LP, Tucker uses the B-3's bass pedals on the B side of Triplicity. Perla is not heard - I edited my previous post accordingly. I have no idea why they used a bass player on the Moody, he does fine on the organ bass.

I missed that one when it was still available, and the astronomical price of a used copy I found later proved unaffordable .....

Wonder what his shelves are filled with; if he hunts for a record by a German artist like Rainer Pusch, he's either a condemned rarity hunter or crazy (look at his want list).

Joshua is the only horn on this excellent album. I like the way he picks up ideas from the preceding soloists and develops them, to me his talent as a jazz improvisor really shows here.

Certainly not, got too much New Orleans piano in 'em. Dig him, but I think he is far from his greatest yet. Much more to come.

It seems there is nothing on their website - see post above. Just re-listened to the Kenny Dorham CD Solid again - I'm gonna sell it, don't like the sound. It's clear, no hiss and all, but for these ears the OJC CD of the Debut LP sounds more natural. Besides that it has all Monk Blue Master takes with Dorham, and two each with Parker (Verve) and Rollins (Prestige).

For a European jazz drummers hall of fame list, in addition to the three above: Daniel Humair Pierre Favre Ginger Baker Klaus Weiss Joe Nay

This has got to be the top, there are many others that have excellent solos and more groove - the Baby Face Willette sessions are my favourites - but here personnel, sound, arrangements, repertoire and solos are all top, a great day, no, two great days in the studio.

I just ordered the 2 DVD set from Fresh Sound and will report on the quality as soon as I have it ... wanted to get Jammin' the Blues for many years!!!

Your description of the Basie, Billie and Monk tracks makes me think they are from the "Sound of Jazz" movie.

I heard Clapton before I knew his idols, but only with Cream, not with the Bluesbreakers. Later I got Otis Rush's Cobra recordings after reading a rave review somewhere, and when I played "All Your Love" to friend he exclaimed that it was the same solo as Clapton's on the Bluesbreakers LP he had. After looking at the recording dates it was clear who had copied .... Rush still sends chills down my spine, something Clapton never did. That says it all to me. I dig Cream, but more for Bruce and Baker, I always found Clapton a bit over the top and a little too self-conscious. I'll always prefer any of the black guitarists mentioned - Rush and the Albert King Stax are among the first Blues CDs I bought - but for musical, not racist reasons. The only white blues guitarist that moved me as much was Mike Bloomfield, but only in his best moments.

I'd say Clark Terry is an A- player, not an innovator, but so individual and excellent he is top class. Curtis Fuller would be B+ IMHO. Some not yet mentioned: Arthur Taylor, a solid B drummer, Jimmy Cobb, B+ drummer, George Duvivier, B+ bassist.

Just me and my wife this year, but a very happy new year to all our friends the world over!!!

Johnny Griffin Max Roach Richard Wyands Melvin Rhyne

I had a look and I know what we mean . The pic is in the babe thread as requested.

Typical Tucker, I might say. Side one is piano trio with Gene Perla on amplified upright and Eddie Gladden. 1. Happy - very fast exuberant modern bop with solos by all three, with some typical unexpected harmonic twists. 2. Blues for Khaldi Yasin - based on a motif Young frequently used in the solo piano piece, not your typical blues, of course, much more modern, still with some older piano techniques, a hint of stride etc. 3. Malapaga - lively rhythmic number with a Latin feel and Footprints-like changes. 4. Strange Blues - just what the title implies, it never runs the changes they way it is supposed to be in the theme. Tuckish humor. Side two is Tucker on organ with Jimmy Ponder on guitar, and Gladden. 5. Giant Steps - the only time (?) this has been done on organ, a tour de force. 6. Suite for Eddie - for Gladden, in three parts, typical Tucker. I say typical Tucker because once you've heard his personal mixture of hard bop, Tyner and humor, you know what to expect, although it sounds a little different every time. I can recommend it.

I use the hair-dryer or benzine, other solvents tend to change the surface of the plastci, and I never saw any of those fancy products like "un-do" over here ... well I'll be going on a trip to Luxembourg next year

I (regrettably?) never heard that one, but clearly remember Rahsaan Roland Kirk's raving on one of his very last LPs where he covered that song. Is this worth searching out?

Tucker and Larry Young were close friends! Tucker dedicated his "Blues for Khalid Yasin" on the Xanadu LP "Triplicity" to him, and they shared a drummer, Eddie Gladden. Have to check the Lp liner if there's more info.

With belated seasonal greetings: rather more funny than silly?