mikeweil

I bought the Hawkins, Parker and Young sets for my wife when she started learning saxophone. Nice seprate booklet with extensive bio. Discographical data only in the individual discs, making it a little cumbersome to find specific tracks. Sound quality is not as good as on the best remasterings available. As a representative overview, they seem okay to me, but for the serious collector, there are better (sounding) alternative issues. p.s. I see you're asking about the 5 CD boxes - the ones I bought are 10 CDs with booklet, but also from T.I.M. Germany. Got them from one cat on ebay, never saw them in shops.

A-1: Transfiguration - organ trio A-2: One for the Father - piano solo B-1: Prema - piano trio with strings overdubbed B-2: Affinity - organ trio C-1: Krishnaya - organ trio C-2: Leo Pt.1 - bass solo D-1: Leo Pt.2 - drums solo and organ trio Listening to her organ playing I recognize it is a direct translation of her husband's late period sheets of sounds style to organ (not a Hammond) including some pitch bending. More advanced than Larry Young. Our only true free style organist? If so, she's heavily underrated for this!

I dug out the double LP and it clearly states that a string section was overdubbed to one track, "Prema". She plays piano on that track.

I find the version of Waldron's "Seagulls" on this LP to be very beautiful: Anybody else here heard this one too?

There was a thread on this before.

My respect for taking the quest! I really dig Live-Evil, but for the improvising of the band, I would take this without Miles - I like it even better when he's not playing. There's less of his influence in a way, as a soloist shaping the music, than in previous albums, maybe that's what you're missing?

Too much square thought for me

Here's one for comparison: There's more at Gary Smulyan's website. Yeah Howard Johnson plays some mean bari on occasion! There's a great bluesy one on Taj Mahal's live album "The Real Thing".

I think Pepper stayed more himself than other players that fell under the Coltrane spell, Frank Foster and Harold Land in particular, who changed their styles considerably after hearing Coltrane after 1960. Pepper had that quest for a more direct and uninhibited expression in him since his Pacific Jazz trios, this is mentioned in the liner to "Art Pepper meets The Rhythm Section" as well, but contrary to Foster or Land he did not use Coltrane phrases directly, but took it more as an encouragement to play "free" in the sense of disrespecting conventions where they inhibited his personal style - al teast that's the way I hear it. Congrats to admitting the influence wthout falling under the spell of it - I liked Foster and Land much better before their Trane infection - although I like Land with Hutcherson an awful lot.

It's funny that you identify an improvisation on a theme by the chord changes, although these can't be copyrighted! Of course this is common practice, and I would have explained it the same way you did, Jim ....it ain't Nature Boy, no way, though I hear the resemblances you talk about, couw. Sometimes the references to a certain song or melody are done unconsciously, I'm convinced, sometimes it is a creative game. It's part of the game ever since beboppers wrote new themes on standard chord changes. On the other hand, take blues changes: They are all the same, and nobody would discuss similarities between themes, because it is expected to be that way! There a many roads to travel ...

This describes some of the traits of Benny I always disliked. Why do great musicians have to act like big you-know-what-kind-of-holes? I never had any problems when someone played a chorus better than anything I played that evening. About the personnel listings: If an online listing is available for copy and paste, posting a link would be sufficient IMHO.

You're gonna like it! Successful year 2004 to you - and all others of course - with ORGANISSIMO!!!

Although I mentioned Chaloff's Blue Serge as being a baritone desert island disc, and think it is the prime introduction to the instrument's capabilities, Cecil Payne seems to be my favourite. A hidden gem (as asked for in the initial post) is the 1956 Savoy LP Patterns in Jazz with Kenny Dorham on four tracks. Dorham and Payne were a perfect frontline match, with their lyricism and common first-hand bebop experience. The rhythm section with Duke Jordan, Tommy Potter (playing some great solos) and Arthur Taylor is very very fine too - each title swings in a slightly different fashion. Payne's soft and fluid sound touches me much more than the harder edged Adams etc. school. He's also heard prominently on the Ernie Wilkins-Kenny Clarke Septet LP on Savoy, in tandem with George Barrow, who hasn't been mentioned yet - mostly burried in section work, but his solos here show a fine player.

Somehow I think it's a shame these three greats have to pay tribute to Mulligan to make themselves heard.

Just listened to Kenny Clarke's Telefunken Blues on Savoy, which has 4 titles with Fowlkes, who is heard prominently in the 3 horn frontline, but no solos. I cannot understand this, would really like to hear him soloing. Seems to be the curse of Basie baritonists ....

I have it, but it's quite different from the Impulse trios, she plays organ on some tracks, and as far as I remember there are strings added or overdubbed on some. Some wild stuff among it ...

I know there's much work involved, but we should agree on some "discographical standard" for the track info besides the personal remarks/comments - which are essential to me, and in Jim's case I expected nothing less than the brilliant short essays he delivered - I suggest it should read like this: track title leader or group name Personnel (names, instruments) recording location and date LP or CD title label name and LP or CD number in the case of larger groups or doubles solo order would be nice All of course, as known or available - this could be helped by board members with more accurate information. This also makes for nice convenient tracklists or booklets to store with the CDs, just copy and paste ...

Mongo Santamaria Michael Babatunde Olatunji Compay Segundo Ruben Gonzalez Don Lamond anybody bother going through the Artists section?

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.