Peter Friedman

No mention of the Ike Quebec / John Hardee box set on Mosaic? I have that version of What Is This Thing Called Love on the Mosaic set.

The Oregon Coast Jazz Party just ended. There was a lot of good music over the 3 days of this event. The highlight of the weekend for me was the Benny Green Trio. I have seen Benny a few times before over the years, but his playing, in my opinion, has matured to such an extent that he has become a true jazz master. His chops, phrasing, ideas and overall conception came together to form a marvelous listening experience. His trio consisted of David Wong on bass, and Rodney Green on drums. I had never heard Rodney Green before. His playing was powerful, yet very tasty. He was in perfect synch with Benny. Rodney is , in my opinion, clearly the best "young" drummer I have heard in a number of years. After listening to this trio play a set Saturday night and Sunday afternoon, both Benny and Rodney are now each among my current favorites on their respective instruments.

Just arrived a few hours ago in Newport, Oregon to attend the Oregon Coast Jazz Party. Over the weekend I will be hearing Benny Green, Mike Wofford, Darrell Grant, Byron Stripling, Harry Allen, Ken Peplowski, Nicki Parrott, David Wong, Mimi Fox, Tom Wakeling, Randy Porter, Todd Strait, Rodney Green, Dee Daniels, Rebecca Kilgore and others. Chuck Redd was given a copy of the Terry Gibbs Dream Band arrangements, and he will be leading a big band playing them.

I had the original LP, and now have it on CD. Haven't heard it in quite some time and need to listen to it again soon. To be honest, I don't recall how Zoot sounds here compared to Booker. Another session where both Zoot and Al Cohn play with hard bop tenor players (Coltrane and Mobley) is Tenor Conclave on Prestige. On that one Both Zoot and Al played ok, but seemed a bit "outgunned" by the 2 hard boppers.

I have a number of Peter Zak's CDs on Steeplechase. He is an impressive jazz player. His CDs generally feature standards and tunes by various jazz musicians, but with just enough of an edge to make them a bit different from other versions of those tunes.

Ubu, Zoot Sims does not play on those tracks. As you suggested, they were recorded at the Basie and Zoot session, but without Zoot. In fact, all the tunes on the "Basie & Friends" CD were recorded at various sessions that resulted in albums. But the tracks here were not included on those albums.

The "Basie And Friends" album on Pablo has these 3 tracks with both Basie and Oscar Peterson as follows. Easy Does It (12/2/74) -Count Basie, Oscar Peterson, Freddie Green, Ray Brown, Louis Bellson She's Funny That Way (12/2/74) - Count Basie, Oscar Peterson, Ray Brown Royal Garden Blues (12/2/74) - Count Basie, Oscar Peterson, Freddie Green, Ray brown, Louis Bellson The remaining 5 tracks on this album feature Basie with Louis Bellson on drums, and either John Heard, Ray Brown, or N.H.O.P on bass

There are so very many favorites. Here are some of them. Hampton Hawes solo on "Diablo's Dance" from Shorty Rogers and His Giants - RCA This has a strong place in my jazz memory, as it was something that really grabbed me back in the early to mid-50's when I first became interested in jazz. Bud Powell's solo on "Dance of the Infidels" from the Paris Jam Session album by Art Blakey and the Messengers. This 1959 session was after Powell had supposedly reached his peak and was in decline. However I really enjoy Bud's very swinging and creative extended solo here. Horace Silver's solo on "Base On Balls" from The Hank Mobley Quintet on Blue Note. It was a difficult choice as I almost selected Silver's solo on "Soft Winds" with the Messengers, or the one on "Walkin'" from the Miles Davis All Stars Album also called Walkin'. Barry Harris ' solo on "Luminescence" from the album of the same title by The Barry Harris Sextet on Prestige. Kenny Barron's solo on "Voyage" from the Stan Getz Quartet album also titled Voyage. Ray Bryant's solo on "Blues Changes" from Ray's Trio album on Prestige.

Those two are the only choices? I pick Dickie Wells. No there are many choices, but I was comparing two living trombone players. The other trombone player currently on the scene that is one of my favorites is Andy Martin. He plays in a very different style than Wycliffe.

I have heard Wycliffe Gordon live many times, including just over a week ago. He has a very large tone. at times he does play, what some might describe as "crudely". He has marvelous facility on his horn, and uses a variety of sounds and technical approaches to , in my opinion, enhance his solos. Wycliffe plays many different instruments including piano, bass, trumpet, and saxophone too. I recently heard him play the slide trumpet a few times. Gordon is also a master of using mutes and plungers. He also is a highly entertaining vocalist. To my ears, Wycliffe is one of the most interesting and enjoyable jazz trombonist currently on the scene. Gordon is stylistically highly versatile, and fits well playing swing, traditional jazz, bebop, hard bop, and down home blues and gospel. I have vivid recollectiions of seeing/ hearing Bill Watrous a few times. There are people who consider Watrous to be one of the very best jazz trombone players. Though he has great facility on his horn, his tone is so soft he needs to have a mic right in the bell of his trombone. In many ways, Watrous is the opposite of Wycliffe as a trombone player. Though I respect the talent of Bill Watrous, I would pick Wycliffe Gordon over Watrous every time.

Contrary to some earlier posts, I have little if any interest in most of the 20th Century concertos. My clear interest is in the Classical and Romantic concertos. Though I like many violin concertos very much, especially the Brahms and Beethoven, my preference would have to be the piano concertos. As has been mentioned, there are far more concertos for piano than for violin. Those by Mozart, Brahms, Beethoven, Schumann and Rachmaninoff are all favorites.

If you like big toned trombone players, Wycliffe Gordon fits into that category. He has a huge tone.

Many of those I would select have already been mentioned. There are an awful lot of Prestige records I like a lot that have rarely been given much recognition. Here are at least some of them. Barry Harris Trio - Magnificent Barry Harris Sextet - Bulls Eye Barry Harris Sextet - Luminescence Art Farmer - When Farmer Met Gryce Art Farmer - Farmer's Market Chet Baker - his 3 Prestige Sessions CD's - Lonely Star, On A Misty Night, Stairway To The Stars Stan Getz - Prezervation Illinois Jacquet - Bottoms Up Illinois Jacquet - The Blues That's Me Carmel Jones - Jay Hawk Talk Budd Johnson - Let's Swing Lee Konitz Jackie McLean - Lights Out Jackie McLean / Bill Hardman - Jackie's Pal Elmo Hope - Hope Meets Foster Charles McPherson - Bebop Revisited Charles McPherson - Con Alma Charles McPherson - Live At The Five Spot Charles McPherson - McPherson's Mood Hank Mobley - Messages Sonny Stitt / Bud Powell / JJ Johnson Art Taylor - Taylor's Wailers Art Taylor - Taylor's Tenors Bobby Timmons - The Soul Man Cedar Walton Trio, Quartet, Quintet - Cedar Jimmy Raney - A Phil Woods Septet - Pairing Off Art Farmer - Early Art Benny Golson - Gettin' With It Roy Haynes / Phineas Newborn / Paul Chambers - We Three Yusef Lateef - Into Something The Dual Role Of Bob Brookmeyer Kenny Burrell Gene Ammons - The Happy Blues George Wallington - The New York Scene Lem Winchester & Benny Golson - Winchester Special Coleman Hawkins - Night Hawk Coleman Hawkins - On Broadway Coleman Hawkins - Hawk Eyes Coleman Hawkins - Soul Paul Quinchette - For Basie Joe Newman with Frank Foster - Good 'N' ' Groovy Ray Bryant Trio Milt Jackson Quartet with Horace Silver Kenny Dorham Quartet - Quiet Kenny Phil Woods / Donald Byrd - The Young Bloods Tommy Flanagan Trio - Overseas

If you are a fan of Dexter Gordon, this is one to get. As Felser said, this along with the Prestige and Steeplechase recordings are well worth having. Of course, the Blue Note's are a must too.

I especially like the numerous Dexter Gordon covers on Steeplechase.

Hope you feel better, or go see a doctor.

Funny, but I like most Steeplechase covers.

Duke Jordan's recordings on Steeplechase are to my ears delightful. Duke has a very identifiable style that makes it fairly easy for me to pick out his solos in the majority of cases. His note selection, phrasing and ability to swing beautifully have made him someone whose playing I greatly admire.

Jack, thanks for the link. As someone who was a serious purchaser of Blue Note Lps in the 50's and 60's, I found this article very enlightening.

Return To Alto Acres is my favorite Richie Cole album. Some of Cole's albums didn't do much for me. They went "over the top" at times! Cole seemed to disappear from the scene for a number of years, but has fairly recently returned. He played at a jazz party I attended within the last couple of years. He sounded better than ever.

My copy is a 2 CD set on the Japanese TOFREC label.

Though perhaps this is not the very best Art Pepper session, it is still quite a good one. Duke Jordan plays well, and contrary to what mizee said, the audio quality is fine.

I have had a 2 CD set of this material for quite a few years. I very much enjoyed hearing Art play with a legendary pianist that had never previously recorded with Pepper.

What came immediately to mind when I began reading this thread were the Charlie Parker Dial and Savoy recordings. Numerous takes on many tunes.

"Death" isn't an accurate way of describing either, Peter. They've relaxed into their own niche. They'll always exist, but they both experienced their heyday in the past. That's actually pretty accurate. How weird is THAT?! While that may well be true, it does not explain why the barrage of new jazz CD labels and releases keeps coming at such a rapid rate.