Peter Friedman

I also have the two French reissues and have pulled them off the shelf to listen to them.

Stan Getz - the tune Prezervation from the album with the same title. This blues is an alternate take of Crazy Chords that is on a different album. It lwas recorded in 1949 with Al Haig, Gene Ramey and Stan Levey.

No mention of the jazz section of the MHS? I have both classical and jazz MHS CDs.

The discussion thus far has been about Jackie's Prestige vs. Blue Note albums with some referring to his Steeplechase output. The first Jackie McLean album I bought was his October 1955 session on the Ad Lib label. This was Jackie's very first album as leader. I bought it on LP when it was initially released. I later sold it for a lot of money and replaced it with a Fresh Sound CD. I have always had a warm spot in my heart for that one along with George Wallington at the Cafe Bohemia from September 1955. Those two albums were what seriously turned me on Jackie's playing. I had heard him on the earlier Miles Davis - Dig - album, but it was the other two that made me a true fan of McLean. Another early album apart from Prestige was Jackie's December 1957 - Fat Jazz - on Jubilee. Had that on LP but now have it on Fresh Sound too. As has been said by others, the rough edges on these early McLean sessions I mentioned above as well as the albums on Prestige and the sideman dates with Blakey had an emotional gut wrenching quality that was, for me, something very special.

I am with Larry here 100%. Two marvelous tunes from an album I would not want to be without.

Taste is a highly personal thing. Live at the Lighthouse is perhaps one of the very few albums by Lee Morgan that I did not like. I disposed of my copy a while back.

I especially liked his playing on the many albums he recorded with Stan Getz,

Shorty Rogers wrote some good tunes and was a fine arranger. He also used many damn fine sidemen. I enjoy his recordings, other than some of his later sessions that veered too far to the commercial side for my taste. His trumpet playing, in my opinion, was often the weakest part of his recording sessions.

Check out the Paradigm Studio 20 bookshelf speakers. The retail price is $1500. for a pair, but you can probably get them for less. I have had Paradigm speakers for a number of years and am very pleased with them.

My choice would be Mobley on the Cafe Bohemia sessions. Another one features TWO of my favorite saxophone players. A Night In Tunisia on. RCA with Jackie mcLean and Johnny Griffin.

Thanks for the recommendation.,

What is the best source to get some of the SHM-CD's at a good price?

SACD,s XRCD's TOCJ's In that order

Happy Birthday Jimmy Cobb. Glad to have seen him play a few times.

Here is some Baroque music that I enjoy, and has not been mentioned. William Boyce - Overtures 1-9 Johann David Heinichen - Dresden Concerti Thomas Arne - The Six Organ Concerti Francesco Geminiani - 6 Concerti Grossi Op.2 & 6 Conceri Grossi Op.3

Milt Jackson is definitely my favorite vibes player of all time. He is a great blues player, is masterful on ballads and swings like mad. His recordings as leader and sideman with a variety of musicians have consistently given me great pleasure. The Modern Jazz Quartet provides a quite different context for Milt. The typically well considered and organized writing of John Lewis results in a very different listening experience that I have grown increasingly fond of over the years. I wouldn't want to be without either Milt Jackson as a vital part of the MJQ, or in the role of leader and sideman in other settings. As for John Lewis, I am a great fan of his sparse and, for me, highly interesting piano work. His solo and trio albums are , in my view, emotionally rich. I also like his sessions as leader of groups outside the MJQ context. Lewis brings an individual approach to the music in both his writing and playing.

I have the two that Art Salt just mentioned, as well as some others. What Art said is also my opinion. Beautiful music with truly outstanding sound.

Sippin' At Bells from the 3 CD set Stan Getz & Chet Baker - The Stockholm Concerts - Verve. There are versions from 2 concerts. Both are very very good. I especially thought the solo by Getz on Disc 3 from the second concert was simply fantastic.

I am in a much different camp here than Jim. The CTI stuff holds little if any interest for me. It is his jazz albums as both leader and sideman that speak to me? His various albums with Horace Parlan, the Duke Jordan, the Kenny Burrell, and a variety of other Sessions on Blue Note are things I like. Also don't forget the two albums on Time, reissued on Bainbridge. One under Stanley's name, and the other with his brother Tommy as leader.

I have a number of Saunders albums too and have seen him live a number of times as well. My view is basically the same as what Larry said. I enjoy Carl's playing but at times feel his solos lack the depth necessary to have them rise to the very top level.

Can't recall the specific words, but in Miles Autobiography he said far more nasty things about Jackie McLean than anything Herb Geller said about Art Pepper. Miles also putdown the playing of pianist Duke Jordan which amazed me. Personally I find Duke Jordan's playing to be vastly more interesting than that of Red Garland who Miles clearly must have liked.

Not sure if it's the "best track", but I certainly dug it a lot! Twelfth & Pingree on the CD Pepper by the Pepper Adams Quartet on Enja. It has a wonderful blues feeling that brought a big smile to my face.

I grew up in Detroit and fortunately had the opportunity to see Yusef Lateef live countless times. He was usually the leader of groups featuring musicians such as Curtis Fuller, Kenny Burrell, Ernie Farrow, Hugh Lawson, Barry Harris, Tommy Flanagan, and various other good players. He led groups in a variety of venues and I probably visited them all to hear Yusef at one time or another. Loved his tenor playing. He reached me deep down emotionally very often. His recordings on Savoy, Verve, Charlie Parker and as a sideman with Cannonball and Mingus are all special to me. After that he seemed to move in a different direction, and I lost touch with his playing. But those early records - wow! I never believed he got the recognition he deserved as one of the giants of the tenor saxophone. R.I.P.

Herb Geller was one of the last living musicians of those who were active in the West Coast jazz scene of the 1950's. It was just pointed out to me that Jack Sheldon is still with us. Who else is still around? Had a chance to hear Herb Geller play at one of Ken Poston's events in L.A. Can't recall what year it was, but I estimate it was about 9 or 10 years ago? I do remember that herb played beautifully, and was perhaps my favorite among the many musicians who performed that weekend.

The Coltrane Box on Prestige is the one I have had for a long time. it includes everything he recorded on Prestige except for the material with Miles. I don't recall seeing anyone mentioning the Chamber's Music album from 1956 with Coltrane as a sideman. It is on Blue Note, but originally was on a Jazz West LP that I owned at one time. some of the material was on A Transition LP. I always liked the hard swing feel on the first of the two dates.