mikeweil

When you are a musician, you are probably better - or at least you should be - at analyzing the music, paying attention to detail, and describing it because your terminology is more elaborate. I pay attention to drummers beacuse I am a percussionist and started playing a drumset as well a few years ago, and I've always liked listening to drummers, but saxophonists, as you said, it's a combination of their personal sound, phrasing, licks, the amount of vibrato - but it can mislead you too. I knew I had heard that tone and vibrato uses, but couldn't remember Ralph Moore. Sometimes it seems logical only afterwards. The Watermelon Man track is a good example to be cautious with a research on AMG: the only version of this tune with a tenor and identical track length I saw was King Curtis', I simply overlooked the Red Holloway version. -_- And I'll always remember the fact that sometimes a player uses stylistic ways entirely different from what we usually hear from him: the first track, where most guessed Gene Harris, I guessed Ramsey Lewis, and then it's Jack Wilson, is a point, or the Joe Williams with George Shearing. I think Shearing is not respected as much as he should be, he's a fantastic pianist, has good taste and swings. Herbie Mann on the Legrand track in the first BF was a point for me: he played much more forcefully than I know of him, so I didn't guess it was him. I'll be more careful to pidgeonhole players in the future - BTW that's what some tended to do with Eric Alexander in this BF: c'mon guys, he's still got a long road to walk on, how would you do in the company of an experienced player like Junior Mance .... Yeah, as Tom stated, I'm looking forward to # 2 and I#m collecting tunes for when it's my turn.

Oh geez! I'm not mad at myself that I didn't recognize or conclude Lou Donaldson, I'm not as much a Blue Note addict as most organissimists, and not that familiar with his playing. But I am severely mad at myself for not recognizing Eastern Rebellion! I saw this band live several times, and this edition in particular, and I have all three MusicMasters CDs, listened to them often, and this track sounded so damn familiar, and the vibrato of this tenor player .... my memory is not what it used to be. I insist, it was Joe Williams with a cold .... # 5 - it had to be a Savoy album judging from the sound and Kenny Clarke, this kept bugging me until I had done my detective homework. These Ernie Wilkins Savoys would make a nice Mosaic select ... I'm glad I keep my little finger. The Teddy Edwards is one to check out, definitively, perhaps the most satisfying track on the test, to me at least, after several re-listens. The Jack Wilson was impossible to guess unless one had the album, and Carmell Jones - showing his boop roots - I'll have to get the Mosaic set. He didn't play like that when I heard him over here. Pretty good local musicians! Wish the locals over here would play that geasy! The Red Holloway leaves me a little uneasy, even after knowing who it is. I respect and appreciate him, and Norman Simmons even more, but this is a little to sloppy for me - I'm too much a fan of Mongo's and Herbie's versions. Palo Alto LPs were available here through special import shops - there were some very good ones in Germany during the LP era - and then there was a sellout when they folded. I think the album is nice, but not as great conceptually as Philly Joe's Dameronia outings. How come your CD sounds much better than my LP? I expected you to reveal a CD reissue. Junior Mance - there not enough good albums from him. Thanks for the lesson in greasiness!!!

Not bad John, at least not badder than all the others ... Have a nice time reading on the train ride back home, I hope the ride lasts long enough!

The Fantasy cover for Ellington The Pianist is a great one, I like that too! I also like the cover for the original 10" issue of the Liberian Suite on Columbia, but can't find a cover online.

As far as I can remember this was the first Ellington record I bought, it made me love the man and his music and still moves me to tears, and its cover is without any superfluous ornament and right to the point, very appropriate for the giant that he was:

Seems you got a few right, Jim! So far the following seem guessed right: # 4 Red Holloway # 5 Ernie Wilkins # 6 Continuum # 8 Houston Person # 9 Teddy Edwards # 12 Groove Holmes Besides that, there are strong votes for # 1 Three Sounds (which I doubt, at least it's not the Lighthouse CD) # 2 Joe Williams # 3 Lou Donaldson I had Howard McGhee on my tongue for # 7 as well, but wasn't sure enough. Dan your tastes have a stronng leaning towards .....

Welcome a-board, JazzAddict. If your name is your program, you'll find a lot for your needs here ... except the music itself, that is. I had another listen to track 4, and wondered why I didn't recognite the Washingtons on first listen: they sound different than on the Criss Cross or Blue Note sessions I heard. Rudy Van Gelder is the cause, he used a pickup on Peter Washington's full woody bass sound, put reverb on the drum set - the rest of the band doesn't have any - this is not my idea of good recorded sound. A routine engineering job that masks the instrumental sound. As for the performance: Norman Simmons hits a wrong chord in the intro, why didn't they start over? What bugs me a little the more often I listen to it is the way Holloway treats the them, he starts with a phrase that suggests Night Train - well he's a great player, but I probably won't buy this album. I find the remarks of Bev Stapleton really hit the mark: We all have different tastes, backgrounds and preferences, and these blindfolds are a very nice way to show each other what we like. It's all jazz, in the end, and this is not the place to start any flame wars about what it is or not. I'm looking forward to the next test. And: could track # 5 be from this album? It features the leader on alto, Jerome Richardson and Frank Wess on flutes and tenors, Hank Jones, Eddie Jones and Kenny Clarke in the rhythm section. Was this ever on CD? Another Savoy gem waiting for resurrection.

So you cross-checked? Really tricky of Dan to choose a tune that exists in two versions with the same line-up and identical length ... B) After a relisten I have to say, this could indeed be Kenny Washington - that's the player I know the best. But Peter Washington's bass sound s a little different than on other recordings. Okay, you win ...

I bought all four of Groove's Pacific Jazz CDs and enjoy After Hours the most. Listened into it in a second hand shop and was nicely surprised. Thsi one made me really dig his playing. I also like Joe Pass much more in this context than otherwise. Great ensemble playing, it is clearly understandable to me why he wanted to record this trio first of all and was disappointed when it was delayed several times for the other projects and then wasn't issued completely. I have yet to check out his Prestige stuff, which CD would you organ buffs recommend for starters?

The only jazz I played in the car over the last few years was Wes Montgomery's organ trios with Melvin Rhyne on Riverside, the early Blue Note Kenny Burrell - in session order, before the Conn set was out - , the Thad Jones Period sessions. Laura Nyro's last Columbia CD, Walk the Dod & Light the Light, and the Live at the Bottom Line CD; John Martyn's The Apprentice and Couldn't Love You More; and a wealth of Cassette tapes with old and never highlife stuff from Ghana a friend from there gives me from time to time.

Forgot to mention the Quinichette - I dig it to death. That too isn't all this artists did for the label. And the Cleveland, had an Lp of it and knew what to expect. There was some great hardbop related stuff on EmArcy in the mid to late 1950's! My wish list for future Verve etc. reissues, no matter in what series (I prefer the non-mini-LP covers): the Cal Tjader Verve not yet on CD dtto for Ray Brown dtto. for Jimmy Giuffre The LPR series covers Impulse/ABC and Argo/Chess/Cadet as well, which had their separate series at the time the Elite was run. Universal series ...

This is what I posted about the Elites I have in the Conn thread: "I intended to buy all Verve Elites, although I'm not a completist - but got rid of some of these as well: The Stitt, the Hank Jones, the Tal Farlow, the Konitz, the Johnny Smith .... didn't like them enoght to keep them, space and budget limits. The ones I didn't buy were the Meade Lux Lewis, the Kelly (had it on LP and found it downright boring), the Farmer, the Alan Shorter, the Teagarden, the Edison (If I had known Jimmy Forrest is on it I would have got it for sure), the Bauer, the Eldridge, the Washington, the Brown (this may be one to hunt), the Russell (disappointing compared to the others I have), the Jazztet and the Schifrin. But the one I have I dig very much - the Elites and the Conns. " A friend had borrowed me the Tigpen LP some 20 years ago, so I knew what to do when it was reissued! Great playing from all involved. Th Walt Dickerson with Sun Ra is a gem, I play it often. Same for the Clark Terry - they could have included all of the Cats vs. Chicks date, even if Terry isn't on all of the tracks. There is some more Blakey on EmArcy, there was a different compilation in Japan several years earlier. The Ray Brown is nice, too. It's 15 I kept - would by the Edison for Jimmy Forrest if I can find it. I think the basic difference between the Elite and Master Edition besides the slightly different cover concept is the sales potential - Elite titles are limited because it's more obscure stuff, the Master will sll more over a longer period of time - pretty much the difference betwenn the Conn and RVG series. The LPR series has taken the role of the Elite series, but of Verve By Request as well, I believe. The Tjader etc. would have been VBR, for sure.

BTW, Jamal moved from Okeh to Parrot because Columbia closed its Chicago branch, I quote from the excellent site linked in my post above: "In January 1954, Parrot conducted a significant jazz recording session with pianist Ahmad Jamal. Born Fritz Jones in Pittsburgh, Jamal went as "Freddy" during World War II, when a Germanic name lacked appeal, then dropped his birth name entirely (to the extent of vehemently denying he'd ever been called Fritz Jones) after converting to Islam. He arrived in Chicago in 1950; Musicians Union Local 208 gave him some trouble before allowing him to contract for gigs locally. On December 16, 1950, the Defender ran an ad and a photo with caption for bassist's Israel Crosby's band appearing at Jack's Back Door (5859 South State). The photo named Fritz Jones on piano and Johnny Thompson on tenor sax. While still Fritz Jones, he made his first recordings (with bass and guitar) for OKeh in 1951. And he was going as "Fritz Jones" on August 2, 1951, when Local 208 of the Musicians Union accepted and filed his contract with the 113 Lounge. Pre-release advertisements from OKeh referred to the "Fritz Jones Trio," but by the time of his second session in 1952, he had changed his name. After OKeh threw in the towel on its Chicago operations in 1953, Jamal moved to Parrot. "But Not for Me," "Seleritus" (an original ballad), "Excerpts from the Blues" and "It Could Happen to You" were recorded with a trio that included Ray Crawford on electric guitar and the celebrated Chicago-born bassist Richard Davis. Jamal's style is already recognizable on these numbers and Sun Ra's later charge that Jamal ripped off his rendition of "But Not for Me" lacks credibility. Al Benson may have been in no great hurry to issue the material, but he sensed enough commercial potential to call the trio back in May 1955 for the only LP to be released on the Parrot label. Major commercial success came to Ahmad Jamal in 1958, when his new trio with Israel Crosby on bass and Vernel Fournier on drums made the Live at the Pershing LPs for the Chess subsidiary Argo." These are the dates for Parrot 78 session: P-53185 Ahmad Jamal But Not for Me Parrot 810 P53-186 Ahmad Jamal Excerpts from the Blues Parrot 818 P53-187 Ahmad Jamal It Could Happen to You Parrot 818 P-53189 Ahmad Jamal Seleritus Parrot 810 recorded January 1954, released prob. December 1954 Ahmad Jamal piano, Ray Crawford guitar, Richard Davis bass.

Of course it would make a great Mosaic, but when I e-mailed them a year or two ago, they replied the Chamber Jazz LP was "in legal tangles, or we would have done the trio long ago", at least that was about what they said. Only one track appeared on a Chess Jamal compilation (New Rumba). The complete Okeh sides were on two French CBS CDs several years ago. Maybe some Spanish label will do it once the copyright runs out in Europe? I'm afraid the two Parrot 78's will be hard to find, as is an LP in good condition. Did you get it there were four titles recorded for Parrot before the Lp session? That makes five sessions in all. (Can you/do you make LP to CDR transfers? I have only a cassette made from a scratchy LP bought second hand in Paris, it was so badly warped I played and taped it once under serious precautions and gave it to a friend whose turntable could handle it better .... )

Mike, I think you have not the earliest but a slightly later issue of this one. I think the earliest issue had a very weird looking cover in which the jacket opened up in the middle of the front (as in, both right and left sides were regular "spines". I just picked up a Japanese LP facsimile of this one in the Red Trumpet super duper sale ($12 instead of the original $35) That's how the cover of my copy looks like: The latest discographical evidence displayed here dates this session back to August, 1953!!!

Bet none of you has ever seen this one:

Here's the original cover and even the back!

If "original" means the first issue, The Parrot and Blue Lake Labels can help you, as this LP was sold to the Chess Brothers only some time later. Be patient, it's a large page that takes eternities to load, but it is very informative and well done.

Maybe it was a hackers gang called the brazilian bluenote badboys

If you read this AAJ thread, it tells you what happened. Hopefully not over here. Maybe a similar thing happened to the Blue Note Forum Server, and they just didn't admit?

Yeah, that was it! Couldn't recall the title, thanks a lot!

Yeah, that's a good selection, and still in print!

I'd say let's wait some more days or perhaps the whole week to give the others a chance to post their comments. I'd rather wait than miss JSngry or couw or Soul Stream or whoever hasn't commented yet. Or are they just taking their time? Anyway, don't be disappointed, Dan, it's a great disc, I play it often!

I once had a Japanese VeeJay double LP of Hank with the Wynton Kelly trio, is that identical to the Fresh Sound?

That Dolphy cover is my favourite so far (if it only had happened ......)! The Cassanda-nite is nice too ...