mikeweil

relyles, thanks for that recommendation! Priester was my favourite trombonist from the first note I heard him play! His first record as a leader in 25 years? Not quite: Julian Priester & Sam Rivers: Hints On Light and Shadow - Postcards 1017, 1997 Quartett: Julian Priester/Jay Clayton/Jerry Granelli/Gary Peacock: No Secrets New Albion 017, 1988 He was a co-leader on these. Both are recommended.

Anything by Julian Priester or John Gilmore or Marshall Allen or Charles Davis. I dig that Walt Dickerson as well. One not yet mentioned: Pat Patrick. Did a stint with Mongo Santamaria's band, is one some Riverside LPs. Always good solos.

I have to admit I took a look at the Vince Guaraldi CD to confirm, but I was 100% sure about that anyway. Looked at the disco for the Winchester, he did only two other quartet sessions, the live recording at Newport 1958, which I just recently bought - it ain't that one - and the one with Ramsey Lewis on Argo that I don't know but find unlikely. The Dexter I knew right away - they faded some tracks because they didn't need more music for the soundtrack. I'm curious about some of the pianists - this is not the stuff I usually got out and buy!

I certainly would have done that ten years ago, but in recent years, with too many new purchases that I didn't listen to as thoroughly as I used to, I'm not so sure. I have that reputation among my friends and the musicians I play with, however: Once one of my drum students wanted to fool me at a party, asking me if I could find any LP on the spot. I said yes, and me named Kenny Dorham's "Quiet Kenny", which I only had on CD, and broke down when I went straight to the CD bin ... There was a track from an Eastern Rebellion CD that I have and love on the first Blindfold Test, which I didn't recognize, although it sounded familiar, at least. Something like this really bugs me, so I took my time with the new one, but still I didn't recognize Strozier, although I helped compile the Strozier disco on Noal Cohen's website - but to my excuse I hadn't heard that album. Will get it for sure, I dig saxophone section writing like this. And it bugs me that I didn't recognize Eddie Harris, 'cause he's one of my favourites, although I'm not familiar with all of his early VeeJay and Columbia albums. I played some tracks to a jazz guitar player with whom I had a TV gig in Brussels last night, I'm just back from the road, in time for breakfast, sleepy-eyed. He said it's definitely Jim Hall on track 7, and Barney Kessel on the solo guitar. And I'm just as puzzled as Jim about that Getz clone on track 8. I can't imagine Getz playing such a unison passage with a vocalist, he certainly could have handled it, but that was not his way.

No misunderstandings here. I DO enjoy it for sure. Fully agree with you on overall quality of the session as compared to Prestige's blowing session dates and Coltrane's playing on these!

Well you'd have to pass out silently in a corner - or an armchair in the Hackensack living room - while the guys pack up .....

Well, I thought we agreed on posting our guesses before taking a look at AMG's pages .... B) Benny Golson on track 5 sounds plausible to me. Heard him with the Messengers and on one or two Prestige Lps and was not moved that much, this is more to my liking. Eddie Who? One of my favourites - have almost all of his Atlantic stuff, but the VeeJay and Columbia albums I don't know that much. A relisten confirms it. Didn't know he did a bossa album. Jimmy Raney !!! a much harder attack than I'm used to from him. Lalo Schifrin - a man of many surprising traits. There is an album on Fresg Sound or Blue Moon with some of his early stuff (not all recorded under his name) that really kicks. Makes me wish for a Eddie Harris VeeJay Mosaic!!! Frank Strozier et al. on track 9? If this is correct, the Milestone CD moves up to the top five on my purchase list!!! These tenors always get me. I get mad when I don't recognize one of my favourites like Eddie Harris

A very nice blindfold test!!! Thanks a lot! What delights me is that there is an organissimo forums member with a distinct liking for jazz with a Brazilian flavor, 'cause half of the tracks were composed or played by Brazilians! Track 1: A smile of recognition was on my face after the first two bars: Vince Guaraldi, Monty Budwig and Colin Bailey playing their jazzy version of Luiz Bonfa's "Samba de Orfeu". This album always appeared to me as one of the more successful jazz versions of this tune, no wonder as Guaraldi was expert at Brazilian as well as Cuban music. I always enjoyed his playing with Cal Tjader's groups, and love his drummerless trios with Eddie Duran and Dean Reilly. Track 2: The vibraphone sound, which is the only one I know of that makes the sound bars sound like metal, not like glass as with most players, tells me this is Lem Winchester. Great talent who was on the scene for only 1 1/2 years, cutting ten fine sessions for Prestige. (There was a thread here on him recently.) Although I don't yet have it, this should be from "With Feeling", with Richard Wyands (who melts his own nice mixture of Red Garland and Tommy Flanagan in his solo - never heard these influences that clearly!), George Duvivier and Roy Haynes - they play a little more restrained than usual 'cuase it's a Moodsville album. I just assembled a Lem Winchester discography on my computer, much to my advantage here ... He was a inestimable loss for the jazz vibes, I always enjoyed his solos, he had a unique conception of the blues. Track 3: This has a vibe similar to that of the Miles Davis Quintet of the late 1950's, but the trumpeter definitely is not Miles. The tenor is Clifford Jordan, that laconic sound (that's what one critic fittingly called it) and certain phrases, and I'd say Wynton Kelly is on piano. Can't say more without using discographies, so I'll quit here. I like this one! Nice way the drummer sticks close to the beat, but can't tell who he is. Track 4: I like the bass player's beat, one of the few times where a pickup is of advantage to get this rhythmic attack across. I'd say it is the same guitarist overdubbing, or the second would have got a solo, their sound is similar. Don't know who it is, but the tune is "The Dolphin" by Brazilian pianist Luiz Eca (with "c" pronounced like "s"), whose virtuosity easily rivals that of the best jazz pianists. The original recording of the Tamba Four was played at half that tempo, which allows the beauty of the melody to unfold much better. This guitarist was probably more interested in the very well constructed chord changes of that tune, he plays nicely, but I would like to hear him play a ballad to tell if I really like him. This is a tune for the Brazilian repertoire of my band, thanks for reminding me of it! Track 5: I'm not sure about that tenor player, he reminded me a little of Stanley Turrentine's debut LP on Time, but that is not Stanley. Sounds a little like Barney Wilen as well, but ... the rhythm section is probably Wynton Kelly, Paul Chambers and Jimmy Cobb. Would like to hear more of this cat. Track 6: This is Tom Jobim's tune "O Morro" or "The Hill". The bassist has a great beat. I would say this is not a Latin pianist. (Oh my sakes when I'm wrong...) I like the bassist more than the pianist, I don't like it when they inflect too much blusiness or standard licks into a Brazilian tune, the style gets lost too easily with chord substitutions or if you take too many liberties with the rhythmic structure of the tune. Well, it's a matter of taste. Won't risk dropping names with this one, but would like to know who they are. Track 7: I think I have a vocal version of that tune somewhere, but can't recall the title or the singer. Nice lyrical pianist, ditto guitar player, but don't recognize either. I'm not a guitar lover, although I end up playing with them all the time! Track 8: That's great. The tenor has almost the tone of Getz, but plays more on the beat. The arrangement is the way I like it, with the tenor-vocal unisons and that contrapuntal impro of tenor and guitar. The drummer sounds like a Brazilian to me, pianist too. These guys understood the characteristic of Brazilian rhythm very well and don't mess with the rhythmical intricacies of the tune - Jobim's "Chega de Saudade". I'd buy that for sure! ***** Track 9: Again very nice, would buy that too! Alto sounds like Sonny Red Kyner to me, didn't he do an album for Riverside or Jazzland with a 3-sax frontline? Not sure about the tenor, Junior Cook? I'd say the baritone is Charles Davis, the light tone of Cecil Payne with the rhapsodic wails of Serge Chaloff, one of the underrated masters of that horn. Why aren't there more records with three or four saxes like that, it's such a great sound! Very good arrangement. A ***** record for me. Rhythm guys sound familiar, Lex Humphries on drums? I dig the way he plays that break on the snare before the closing theme. Track 10: Jim likes guitars, that's for sure. That's the old Brazilian warhorse, "Brazil". Not quite my cup of tea, but well done. He knows what he does. Track 11: I think I know that pianist, but again can't tell. Again a very good duet. Track 12: Grant Green is the guitarist, I'm sure. That combination of tenor, Grant Green, bossa nova rhythms and a cabasa in the rhythm section smells like one of Alfred Lion's strange excursions into Latin jazz fields. But the tenor does not sound like Quebec or Rouse, which Lion produced, but it's that formula. He has some Dexter Gordon touches. That pianist sure is funky! They cook very nicely, this is getting better than the Blue Note bossas. Track 13: "I Mean You" by Monk and Hawkins. I like the drummer best on this track, he cooks very nicely with a light touch. My experience with Monk tunes is not to mess with the rhythmic or chordal structure in any way, but this guitarist probably plays it from memory, 'cause the starts the main thematic phrase in bar five on "one" instead of the last eighth note of the previous bar - anticipated down beats are a very important part of this tune! He makes the same error with the first note of the introductory phrase. This abberation lessens the rhythmic momentum the tune. Otherwise this guitarist has a nice attack. But don't mess with Monk's tunes, please! Track 14: This sounds like Sarah Vaughan's take on Jobim's "Double Rainbow". Nicely done, but apart from the very early recordings and her late album "Crazy and mixed up" she never really got to me. Track 15: This is Dexter Gordon playing soprano sax, a complete tranistion of his tenor style to soprano. It's a pity he didn't record more on the instrument. This was on one of the two "Round Midnight" soundtrack albums, Freddie Hubbard, Herbie Hancock, Ron Carter and Billy Higgins are on that track if my memory serves me right. Track 16: "The Good Life". Have no idea who this is. Again a very beautiful way to end the Test, just like the previous ones. I would like to hear more of this record. I'm not too well informed in these maintream piano and guitar stylings. Thanks for the compilation, there are some great finds among them for me! And now, Ladies and Gentlemen, again: It's off to reading the others' answers!

The description on the Mosaic site says it has two unreleased tracks! Now which is the second? The biggest disappointment to me is that Michael Cuscuna more and more often regards his personal tastes as better than that of the fans and buyers that make his living! I start getting mad at this B) smiley, because he pops up every time you type (B) or (B), no matter if you want him or not!!!

The description on the Mosaic site says it has two unreleased tracks! Now which is the second? The biggest disappointment to me is that Michael Cuscuna more and more often regards his personal tastes as better than that of the fans and buyers that make his living!

Slightly off topic, but EMI France sold a limited number of Blue Note wrist watches about a year or two before the start of the Connoisseur series. You had to have a special connection to some record dealer to get one, they were practially sold before they hit the shops. I was lucky to get me one, but after five years it ticked it's last beat and turned out to be so cheaply made it was unrepairable!

Oh, the Driscoll dates .... guess I'll have to dig out the LPs. But overall there don't seem to be that many - and I don't mean organists that sing themselves.

Haven't heard it but find it a little inappropriate that a Van Morisson CD cover resembles the style of some of the old graphic Blue Note LP covers: But at least the album's title tells the truth

Perhaps I should have said "missing horn player" instead of "missing horn"! I don't miss the second voice, either, never did.

Of course it is an excellent session as it is, I love it!!! Coltrane plays more beautiful on this one than on any other date in the late fifties - but as beautiful as Dameron could write for two horns ..... just curious, you know

Philly Joe's great on that one!

That session indeed was on the twofer LP "Back From the Gig" (BN-LA488-H2) in 1976 together with the Parlan "Happy Frame of Mind". As all Booker Ervin Blue Note and Pacific Jazz dates except for "Gig" were out as Conns, I guess a Select is not in sight - and there isn't enough material for it - two Blue Notes and two Pacific Jazz dates as a leader.

Got mine today at last (Tuesday), had a listen, took some notes, but want to revisit some tunes and I'm too tired right now to formulate and post my thoughts. Tomorrow morning at 7.00 a.m. an oil delivery man will knock on my door, at 10.00 a.m. it's back in the studio to cut some more demo tracks ...

Great to hear that Norma Winstone takes part in such interesting projects - always enjoyed the intimate warmth of her voice. Have you heard her 1995 recording with Jimmie Rowles on Koch Jazz? And has anyone heard this? Recommended?

I have one of those and second the recommendation!

Good suggestion, I think both Dorham and Sulieman seem plausible, but we'll probably never know. But he was still alive when the book was published - Gitler didn't want to harm his reputation.

Same here!

Is it the very idea of organ transplants you criticize, or something about the way it's done? It is the idea itself I criticize. I'd rather accept the failure of an organ and death as a consequence than ask for a part of another human being's body, no matter if he died of an accident or donated - I cannot separate an organ from the whole person, see them as inseparable. Illegal organ trade as a possible consequence of the possibility is another ting. Basically I think we need not do everything we can do, technically, medicinally, musically ....

Who's on that unissued Booker Ervin session???