Peter Friedman

I have and enjoy single CDs of Haydn piano sonatas by the following: Anton Nel - MusicMasters Emanuel - Ax - CBS Gilbert Kalish - Nonesuch Zoltan Kocsis - Hungaroton Dezso Ranki - Hungatoton Ivor Gotovsky - Pyramid Not sure which if any are still available as I have had them for many years.

Pianist Gene DiNovi played with Bird. He also played and recorded with Lester Young and Benny Goodman. DiNovi currently lives in Toronto, Canada.

I agree that Piano and Pen is by no means a high energy session. However, for me there is a tasty low key elegance that make it quite enjoyable. My recollection is that the Katz Trio date on Reservoir is a more swinging session.

I agree that Dedicated To You is a good one, but prefer Any Old Time on Denon. The latter is one of my very favorite recordings by Carmen.

The Dick Katz on Atlantic is very good. I also highly recommend his trio session on Reservoir. There is also a nice quintet recording with Katz as leader on Reservoir

Hey, you can have Delmark instead of Deutsche Grammophon, which ain't a jazz label. Or I'm going to put Syllart back in I'm not familiar with the whole range of Rounder - only have a couple of jazz albums on that label. Oh, and Columbia (not your choice, I know, Bebop) is hardly a jazz label. Only a tiny proportion of its output has been jazz, compared to Atlantic, Savoy and Chess. MG Columbia may not be primarily a jazz label, but look what you get! ! Louis Armstrong, Billie Holiday, Benny Goodman, Miles Davis, Monk, Mingus, Stan Getz, Ellington, Muddy Waters, Bessie Smith,Coleman Hawkins, Ben Webster, and countless others. Also need to add Woody Herman, Bud Powell, Basie, Dexter Gordon, Brubeck, Jimmy Rowles & Bill Evans.

There are some piano players I like lalmost every time I hear them live or on recordings. There are others whose work never or only rarely appeals to me. Hersch is in the 3rd group. Some of his recordings are, for me, boring. Yet there are others that I do enjoy. Though impossible to actually quantify, I would say it is roughly a 50 - 50 split.

It is clearly just one persons opinion. There is no doubt that a list put forth by most posters here would be dramatically different from that of Burning Ambulance. If I was to make such a list of favorite - not greatest - saxophone players, it wouldn't be even close to the one here.

There is a third Steve Davis, a drummer who has played and recorded often with Lyne Arriale

I believe Jimmy Heath played with Bird. Not certain, but suspect Barry Harris may also have played with him once or twice? Dick Hyman definitely played with Bird as he is the pianist on the brief film clip of Bird and Diz.

I have the Howard McGhee on CD made by Century Records in Japan. On the front cover and the CD itself it is listed as a Felsted session. My Cecil Payne - Connection session is on a 1992 CD issue on Fresh Sound. The CD is titled Cecil Payne - Stop And Listen To .... There are 2 LPs of music on this CD.

I am able to watch youtube on my large flat screen tv and hear it through my audio system. That makes it , for me, a far more positive viewing and listening experience. This Dexter YouTube was highly enjoyable. The version of Society Red was particularly good in my opinion.

I originally had this on LP when first issued. Now have the earlier CD release. As has been said, one of the most appealing aspects of this recording is that it is very different from his countless blowing sessions on Steeplechase, Prestige and Blue Note. Though I like The blowing sessions, it is nice to see Dexter presented in a different manner.

I agree with Mom's that the Harold Mabern's are decent but not essential. Actually the CD on the list that I fand most appealing is the Cedar Walton. Though not my favorite Cedar Walton Trio CD, it is nonetheless quite good.

There are many many CDs on that label that I could recommend. Besides what has already been suggested, here are some musicians on Criss Cross who are , in my opinion, well worth checking out. Grant Stewart Peter Beets Joe Magnarelli John Swana Steve Nelson Peter Bernstein Also many earlier things on Criss Cross by: Cedar Walton Jimmy Raney Chet Baker Ted Brown Dave Pike Warne Marsh Clifford Jordan Slide Hampton

Here are some I like: Joe Cohn & Doug Raney - Two Funky People Todd Coolman Trio with Joe Henderson - Lexicon Mike LeDonne Trio - To Each His Own Mike LeDonne - Bags Groove (A Tribute To Milt Jackson) Frank Rosolino - Fond memories Of...

Ira Gitler

Bobby Hutcherson - The Kicker - Blue Note Duke Pearson - Wahoo - Blue Note Lee Morgan - The Rumproller - Blue Note Bobby Hutcherson - Stick Up - Blue Note Duke Pearson - Sweet Honey Bee - Blue Note Paris Reunion Band - For Klook - Sonet/Gazell Frank Morgan - Reflections - Contemporary Arnett Cobb - Tenor Tribute - Soul Note Arnett Cobb - Tenor Tribute 2 - Soul Note Mulgrew Miller - The Countdown - Landmark Bebop & Beyond - Plays Thelonious Monk - Blue Moon McCoy Tyner - New York Reunion - Chesky Valery Ponomarev - Profile - Reservoir Walter Norris - Sunburst - Concord Jazz James Williams Meets The saxophone Masters - DIW Roy Hargrove - Tenors Of The Time - Verve

Roland Hanna Harold McKinney Alex Kellao (sp?) Pat Flowers Will Davis

Tiny Kahn Harry "The Hipster" Gibson Red Rodney Dollar Brand Abe Lincoln Brew Moore Derek Humble Coleridge Goode

So much of this, as Jim said, is projection. For me it comes down to a matter of personal taste. I find Harold Land's playing far more satisfying prior to the strong Coltrane influence. His work on the Curtis Counce albums on Contemporary is among the very best examples of his playing in my opinion. On the other hand, the early playing of Frank Morgan was for me nothing special. His later playing had fire and passion that moved me. I happened to see Morgan at the Jazz Showcase in Chicago with Willie Pickins, Dan Shapara, and Wilbur Campbell and thought it was really good. Also saw him one evening in Telluride, Colorado in a quartet setting with Steve Kuhn on piano. They had never played together before and Morgan was knocked out by how great Kuhn was playing and said so to the audience. The music that evening was marvelous .

I have the same view of McCoy Tyner. The" banging and unneeded sound and fury" was not to my liking. I especially enjoyed his playing as a sideman in the 1960's with Freddie Hubbard, Joe Henderson, Wayne Shorter, Grant Green, Lee Morgan, Stanley Turrentine, Donald Byrd, Bobby Hutcherson and Hank Mobley.

Alvin Queen sounds marvelous on this CD that I listened to today. Johnny Griffn / Steve Grossman Quintet - Dreyfus With Michael Weiss, Pierre Michelot and Alvin Queen

John and Gerald Clayton Ornette and Dennard Coleman

Music does NOT have to swing to be good. Do you really think that Eicher is telling Kuhn, a musician for over 50 years, to cut an album that is ethereal, and not what Kuhn intended? As a matter of fact, I'm almost positive that the Venuses that you so love are the ones where the artists are being told what to play. Avant doesn't swing. Energy music doesn't swing. Hell, most Nessas don't swing. And yet, a lot of you guys are ALL OVER those. More misplaced ECM bias. Your comments have little to do with what I said. I suggest you read what I did say again. I did not say that Eicher told Kuhn what to play. What I did say was a reflection of my personal taste. Of course I realize that the taste of others may be very different. But I do not appreciate having you put words in my mouth that I did not say. With only very limited exceptions, the music put out by ECM does not appeal to me. Whether Venus requests that Kuhn play standard tunes or not is to me, unimportant. it is the musicians interpretation of those tunes that matters to me. I also happen to like standards, and music that swings. How did I misinterpret? How could "This is what to me is the typical ECM approach" be read any differently than "Eicher persuaded Kuhn to play a certain way"? C'mon. Why not just say that Kuhn simply recorded an album which you do not enjoy? You took the opportunity to rag on a label which has given us the opportunity to hear many artists which would've otherwise not been heard. To me, that's what it's all about. If you wanna restrict yourself, that's cool with me. ECM has a catalogue which exceeds 2000 in number at this point. I might go as far as to say that it's been more important in the overall development of music than even our beloved Blue Note. Saying I don't care for most ECM recordings is not close to the same thing as saying that Eicher PERSUADED Kuhn to play a certain way. Actually I doubt very much that Kuhn was persuaded at all. My guess is that he enjoys playing music of varying styles, and that is fine. I was not "ragging" on ECM, just expressing an opinion that the music on that label rarely is to my taste.