Daniel A

At least he has succeeded in a bit of myth-making. From the top 20 hits in a Google search for "Waltz for Debby" + "My Conception":

No Ornette. No Parker.

Neither would I. I simply thought that Ginell knew something I didn't, as a simple check with the AMG itself reveals that 'Waltz' was recorded several years before the Clark tune.

It was brought up here once, but that thread went wrong (skin color related) and disappeared.

I believe the full contents of the Shihab Argo album ('Summer Dawn', 1963), which is otherwise downright impossible to find, is scattered around the two compilations CDs from Rearward, Sahib Shihab 'And All Those Cats' and Francy Boland 'Calypso Blues', as well as all the cuts from another album in the 1000 dollar range, Kenny Clarke Francy Boland 'Swing Im Bahnhof' (1967, originally on Columbia).

Since you have already gotten a reply in the other thread (I suppose the double post was a mistake), I'd suggest that you delete one of the threads (bottom of page - moderation options). I leave it to you to decide which of them contains useful information.

I wasn't aware about this "rumour". I thought that "Waltz for Debby" was written first, but what do I know! From the Richard S. Ginell's AMG review of Eric Alexander's 'Solid': A Google search brought up this statement on a few other places as well, but I couldn't find any info about when the Sonny Clark tune was actually written.

do you mean this guy: http://seniormusicians.homestead.com/WileyAllen.html

He hasn't visited the forums since posting this thread: http://www.organissimo.org/forum/index.php...wtopic=21099&hl= What do you make of those last words? I hope he's doing well.

I heard hime live once, in the summer of 2000, when he appeared with "The Monk Tentet All Stars" at the Stockholm Jazz Festival. The band consisted of Steve Lacy, Phil Woods, Land and Howard Johnson on saxes, Jack Walrath and Don Sickler on trumpets, Eddie Bert on trombone and Ronnie Matthews, David Williams and Billy Higgins in the rhythm section. Unfortunately, Land's tone sounded very dry and wasn't helped by trebly amplification. He was in good spirits, but was clearly not as fluent on his instruments as in past years. Lacy sounded weak, too; the only member in the sax section who turned in a completely convincing performance was Woods. The color of his face was rather grey, he wore big sun glasses and did not change the stern expression of his face during the show - in fact, he was the one on stage that looked the least alive - but his playing was quite engaging. The rhythm section was fine as well; Matthews, who also did the annoncements, was in very good form. After their show ended (I forget what came next), I watched Land and a couple of others from the Monk tribute band strolling around among the audience (only five years later, I believe artists don't do such things anymore) and my first thought was to ask of an autograph. Land was smiling a peaceful smile and talking quietly to the other guy. In the end I decided not to interrupt them. Well, at least I have an autographed copy of 'Take Aim' I found at Mole's in London.

And played sunny solos...

It now seems as if it will be a four CD set (or should that count as a three CD set with one bonus disc?): http://concordmusicgroup.com/artists/album/?id=4328 Only two (live) tracks - curiously listed as tracks #5 and #6 - are given for the fourth disc; Tune Up and Walkin', which I presume are from this December 8, 1956 broadcast: http://www.plosin.com/milesAhead/Sessions.aspx?s=561208 The blob on Concord's site does not mention the live tracks, but rather tries to give some insight regarding the "vertiginous flights" of Coltrane and Garland’s "sunny solos".

I agree with you completely! I forgot to write something about Shihab (and he really deserves a thread of his own). His solos always have a degree of unpredictability; the results are sometimes wonderful, sometimes a bit weird, but always interesting and always deeply personal.

I suppose it's a bit like, say, Kenny Dorham.

I'll be interested to hear what you think of it after you've had time to absorb it, Jim! A pity Dusty Groove no longer have the 'Our Kinda Strauss' album in stock. There is espescially a late track, Lotus, from 1972, which is very much out of the same bag as the 'Off Limits' album. A footnote for Europeans; it seems as if these albums are available a bit cheaper - even including additional shipping - from DG than from the Rearward/Ishtar site itself (link in Sidewinder's post above).

Nice to see that this thread generates so much response! To sidewinder: I had not read your reply to Jsngry when I made the comparsion with Ferguson and Herman. I have now added a "To my ears" to that statement as to not appear too polemic.

Actually I listened to 'Off Limits' today just before starting this particular thread. The DG review sums it up pretty well. Do not expect anything too far out - it's still very much in the tradition of the previous albums. But I think the band - and most of all, Boland's arrangements - developed during the 1968-70 period. Certainly I think they are stretching the boundaries of the idiom as much as possible without going into another style altogether. To my ears it's definitely nothing like the Maynard Ferguson and Woody Herman albums of the time (which I enjoy, too). This is really the best of two worlds in my opinion.

Thanks Brownie - it's added to the list!

Indeed, Åke Persson was probably the finest Swedish jazz trombonist. But his tragic death was not until 1975, when the CBBB seemed to have been permantly put to sleep. Did not want to make this thread too sad, though. The CBBB is a joy to hear!

In recent years - when finally CD reissues are beginning to show up - I've become more and more fond of the Kenny Clarke Francy Boland Big Band. They were very prolific in the studios towards the end of the 60s, and fortunately most of the albums are very good. In fact, my opinion is that the albums became better and better right up to the end! The Saba/MPS albums are certainly the place to start (I don't care too much for the early Atlantics) but even within the concentrated run of albums recorded during just two years I think they got more and more exciting. As I've understood it, the death of lead saxophonist Derek Humble played a big part in the break up of the band in 1971. It would have been interesting to hear how they would have developed after that; commercially they still seemed to do very well at that point. A Swedish jazz magazine tried to do an interview with Francy Boland a few years ago, but he had left music altoghether and did not want to talk about the band any more. Here's a listing of most of the official albums: 'Jazz Is Universal' (Atlantic, 1961) 'Handle With Care' (Atlantic, 1963) 'Now Hear Our Meanin'' (Columbia, 1963) 'Our Kinda Strauss' (Rearward, 1966-1972) Reissue of 'Swing, Waltz, Swing'/Carl Drewo und die Clarke-Boland Big Band (Philips, 1966) with a lot of bonus tracks 'Kenny Clarke Francy Boland' (Supraphon, 1967) 'In the Background' (Saba, 1967) 'Sax No End' (Saba, 1967) 'Out of the Folk Bag' (Columbia, 1967) 'Open Door' (Muse, 1967) 'All Smiles' (MPS, 1968) 'Faces' (MPS, 1968) 'More - Jazz in the Movies' (Campi, 1968) 'Latin Kaleidoscope' (MPS, 1968) 'My Kind of World' / Gitte & The Band (Hörzu/Columbia, 1968) 'Fellini 712' (MPS, 1968) 'Volcano' (Polydor, 1969) 'Rue Chaptal' (Polydor, 1969) 'All Blues' (MPS, 1969) 'More Smiles' (MPS, 1969) 'TNP - Oct. 29th, 1969' (Trema) 'At Her Majesty's Pleasure...' (Black Lion, 1969) 'November Girl' / Carmen McRae and the Kenny Clarke Francy Boland Big Band (Black Lion, 1970) 'Off Limits' (Polydor, 1970) 'Change of Scenes' / Stan Getz & Francy Boland (Verve, 1971) A few general remarks: I've seen it stated more than once that this band was spectacular live, and being too young to have experienced that I cannot comment on that. However, I've discovered that I enjoy the concentrated performances in the studio a lot more than the live recordings I've heard. Not that the band was short on good soloist (although Boland himself is perhaps not among the most interesting), but the arrangements were always more important than the solos. In fact, the shorter the performance, usually the more I like it! Boland managed to get so much into a three or four minute arrangement without making it sound overwritten. Among the best examples is the waltz album now reissued by Rearward which contains a couple of really interesting cuts which were previously unreleased. The two drummers sound so much like one man that I never think of it. Really one of the best examples of two drummers in this kind of setting. Almost all the time the band plays wonderfully in tune, and the brass section has a very fat sound which is nevertheless easy on the ear. Without knowing anything about it, it sounds as if they were miked rather close in the Lindström studio in Cologne where most of the Saba/MPS albums were recorded. (Possibly the use of reverb was a bit too generous, though) I have not heard all of the albums listed above, but among the favourites are 'Latin Kaleidoscope', 'Our Kinda Strauss', 'Fellini 712', 'More', 'All Smiles' and 'Off Limits'. It would be interesting to hear what you others think - all kinds of opinions are welcome!

Another Harold Land fan here! As I've stated elsewhere I think he was the perfect front-line parter for Brownie; all their recordings together are so enjoyable from start to finish. It's fascinating that he so easily was able to adapt his style - which, as sidewinder said, was still immediatly recognizable - to the more progressive settings of the late 60s. 'Peacemaker' is fine, although I wouldn't wait too long for a non-Japanese release. Aside from 'Study in Brown', Hutcherson's 'Total Eclipse' will always be the album I return to again and again. Hutcherson, Land and Chick Corea - what a lineup!

A terrible, terrible loss. Jackie was one of the greatest.

If the votes so far are representative of all of the globe, over 5 billion sets have been sold worldwide.

The J.J. Johnson is such a fine set that I'm astonished that it has lasted this long. Much of this will probably never be out in any disc-based form again, and some of it perhaps not even as downloads. Year after year I continue to regard this as one of the most enjoyable Mosaic sets because: * it features fine tune selections * ( which consistently are presented in near-perfect small-group arrangements) * J.J. solos great throughout the complete set * the rhythm sections are all stellar * it contains a slice of the all-too-small Bobby Jaspar discography * it's remastered in very good sound So, if you haven't got it already - when will you get it? (And if any of you have all of the original LPs in good shape, you'll still have to vote "never"; the sessions are presented so nicely in this set I think you could get it anyway)

Cookin', Relaxin', Workin' and Steamin' (but not The New Miles Davis Quintet) are available from 2001 in a 4 CD box set, supposedly with original cover art as it seems to consist of the old (ZYX?) separate CDs. The price is €15 (500667). For those who don't want to wait for the new 3CD box, don't mind the ZYX remasters (however they are), can do without the fifth album... and don't want to spend much money! Link to picture of the box (not from 2001, but it appears to be the same) http://www.kind-of-blue.de/bilder/boxen/mi...min_box_set.jpg Appears to be the 16 bit remasters, which are said to sound OK, aren't they?