mikeweil

No use, you'll never catch up!

Of course that makes a difference. Under that aspect your choices are excellent, aiming at a reading audience that knows not much beyond the great names. I'll read them again more carefully, and give you feedback later.

Yes, why not? Go ahead! Curious about your next choices. I have to admit I expected even rarer albums.

Ubu, the link is right there! Problem solved?

But only the sound!!! Eddie's choice of notes is entirely different from Getz'!!! That quote is very very fitting! He uses that "cool" sound but the "hot" phrasing of the advanced hard bop school. There is no other cat who could have written Freedom Jazz Dance or Mean Greens! This is some phrasing even different from Rollins or Trane. I hear a parallel to Lucky Thompson, who managed to cross the rhapsodic attitude of Hawkins with the fluidity of Don Byas and the lightness of Lester Young. Very individual mixtures of influences!

Re the alternate takes: With Wes they always merit attention, beacuse he never played the same solo twice or in a similar fashion - in the case of this album this is diminished a little bit as he does not use his chord or octave technique on that bass guitar, to hear him solo in a linear fashion all the way is unusual. on his regular guitar he always mixed single note, chordal and octave playing to achieve more variety. And that bass guitar's sound is less warm, almost as if he had used a pick - which he didn't, it is the sound of that axe. Considering how long he worked on his sound, he probably wasn't that satisfied with the guitar sound here, but studio time was running out and two dates for one LP was luxury for Riverside ... Keepnews may have insisted on settling for the given results, as Wes had a reputation of being perfectionist. It is an experiment, and the results are okay for a star soloist with a frontline partner and a rhythm section that were not his regular working band. Well, he was familiat with Jones and Hayes from previous dates, but still....

AFAIK Eddie started as a pianist/vocalist and vibes player - I heard him play some mean bluesy piano live a few years before he died, he was a real down home earthy player and had a wild imagination as well. He made his professional debut as a pianist in the Gene Ammons band. He is quoted on the liner for "The Tender Storm: "I like Miles for choice of notes, Milt Jackson for feeling, Stan Getz for timbre and sound, Charlie Parker and Clifford Brown for smoothness and articulation, Rollins and Coltrane for their skips and intervals." Nuff said!

I too think that re-establishing the Windows/IE default settings may help. Brownie described the way to go. You can enable everything, then deactivate one by one to find out how far you can go. Or if you use a firewall, check the programs allowed or blocked for internet. Or download and use OPERA, like we clever cats do ... much easier to change settings in OPERA.

I suspect a bootleg. Noal Cohen's Frank Strozier Discography doesn't have it, and at least the recording date of 1984 is very unlikely. The applause couild be faked. Can you post track timings, solo order etc, then I could compare to the Affinity LP. Body and Soul and Dolphin Street were on that LP.

It's a shame there are so few of his albums available. I haven't many, but all are great: A rare solo piano LP on the German L+R label, Piano Soliloquy The New York Jazz Quartet in Japan (there are two different albums on CTI/Slavation), each has a precious piano solo Perugia is great! ... and his very unorthodox playing in the Thad Jones / Mel Lewis band gets me every time!

Sorry I'm so late, but info like this is never too late (Atlantic except as noted): Excursions is a great collection of leftovers from his recording sessions for Atlantic, ranging from straightahead stuff with Cedar Walton, Ron Carter & Billy Higgins (what a magnificent quartet, BTW), over the quartet with Jodie Christian to later stuff of the band with Rufus Reid and Ronald Muldrow. No duplications with other albums and a great overview of the styles he covered during his tenure with Atlantic. The Lost album contains music unissued on VeeJay at the time, including a rare session with melvin Rhyne. Haven't heard it, but have to get this for sure. Plug me in etc. is one studio and one live album (both rather short) from his funky "Listen Here" period - groovy and humorous. In the UK is his date with British Blues & Rock musicians, haven't heard it, Is It In is one of my secret favourites, some of the weidest groove music you will ever here, electric bongos, a put-on of warfare in the jungle .... if you dig Eddie's humour ... I do! House Party Blues is priceless! Newport is not so deep, sound is only acceptable. Instant Death is a wide ranging affair with Muhal Richard Abrams (!), Muldrow, Reid, Billy James and Chicago master percussionist Henry Gibson. Very groovy and some more wild humour. Bad Luck etc. is later Atlantic funky stuff with his satiric sprechgesang, I'd say only for Eddie addicts ... Free Speech is Eddie's take on the Bitches Brew influence, with some great Jodie Christian on Rhodes piano, one of my favourites. Overweight is from the Bad Luck period. Versatile is a solo album with overdubs by Eddie on piano (he is an excellent pianist with plenty of blues feeling!), Sings the Blues has Eddie singing through his electric sax, among others, the band with Abrams etc. If you like Eddie, you'll dig them all, I'm afraid ...

Jackie McLean - always one step beyond ...

Wes Montgomery - you'll never get to see even the back of the cards behind his blurring thumb.

Thanx! I'll watch my mailbox!

Oscar Peterson - too fast for ya!

Philly Joe Jones - would always spoil your concentration with a Bela Lugosi imitation at the right time!

Thelonious Monk - no way to stand these long hard looks ...

Charlie Parker - by no means you could take his sax in case you win!

Start here!

Jim Sangrey posted some of these as a result of the "pokerface joke" regarding his reaction to his own track in the BT # 5. Here they are: My own modest contribution: The stage is yours ...

Back to Blindfold Business .... I re-listened to Jim's track with the knowledge in mind it's him, and I'm really glad I didn't say anything negative about it in the first place - I really like it, that really personal expressiveness that's in it, it's honest and sincere, and that's a lot more than many musicians can claim for themselves. In fact, that's what I'm looking for in any type of music, above everything else. Technical prowess leaves me cold. I reckon your modesty enforced the remark about disqualifying yourself - c'mon, it's really not that bad ... Will you send me a PM where to send how many bucks to get your two CDs, please?

Dizzy Gillespie - or you'll get to know the truth about how his trumpet was bent.

I researched my own Lucky Thompson discography and really can recommend ANYTHING he recorded after 1950, not one bad solo among them. I will send the disco to anybody sending me a PM or an e-mail with a valid mail adress, I think I have all the recent releases covered, although there still may be some minor inaccuracies. The two Vogue CDs are already OOP, I'm afraid. But I'll take the time over the next few days and post a list of recent CD's in the Lucky Thompson thread and post a link here. ubu, you have the Impulse CD with Pettiford?

p.s. PLEASE give a sample of "etc."!!!