Peter Friedman

I am a "moderate" audiophile. A number of people have suggested that it is all about the music, not the equipment. However, the point of having good audio equipment (for me) is to better enjoy the music. If you compare listening to music you know well, and like very much, through different quality levels of speakers this can become obvious. It is interesting that while many people here seemed to indicate that audio equipment quality is not of much importance, I wonder if they feel the same way about the sound at a live concert or in a club. Personally, I have found many occasions where the way sound was being produced at a live music event either detracted from the music or seemed just right. This same sort of thing is true (for me) with audio equipment at home. This does not mean one has to spend a huge amount of money on audio equipment. What it indicates to me is that one should take care in purchasing audio equipment. Listen carefully to a number of speakers in the price range you can afford with music familiar to you. About 25 years ago a very fine pianist came to my home to listen to some jazz LPs. He said to me that with the excellent LP collection I had, he was surprised that my audio equipment was so mediocre. He invited me over to his place to listen to some music on his system. When I heard how much better the music I love sounded on his system, I began the process of gradually upgrading my audio equipment.

I have long enjoyed the playing of Arne Domnerus. he has recorded numerous times over the course of his lengthy career. I have 11 CDs with Domerus as leader, and many many more that he appears on as a sideman. He has been a major part of the Swedish jazz for more than 55 years.

I am quite sure that it was never issued on CD in the United States. Can't be sure about Japan or a European country.

Didn't care for it. Had a copy and disposed of it long ago.

This one is my favorite Jimmy Heath CD. I also like his Riverside dates. I don't care much for The Gap Sealer or Love And Understanding.

I always liked Jimmy Cleveland's playing. I recall buying his 4 LPs on Emarcy/Mercury when they were first issued. Now have all that material on a 2 CD set on Lonehill.

Don't forget the 1963 Dexter Gordon date for Blue Note with Bud Powell on piano - Our Man In Paris.

Simply beautiful. Thanks for posting it!!!!

I have 2 pair of small size speakers that sound quite good. The most inexpensive pair which are in my bedroom are B & W DM601. The other pair sound better, but are more expensive - Paradigm Reference 20. I can easily recommend both pair.

I don't know who the trombone players are on this album? But your words about Dado Moroni ring true for me. This man is not at all wellknown, but is one hell of a piano player. His two CDs on the Jazz Connaisseur label are outstanding: THE WAY I AM WITH DUKE IN MIND. Dado's other albums that I very much enjoy are: INSIGHTS - Jazz Focus OUT OF THE NIGHT - Jazz Focus WHAT'S NEW - Splasch

I at one time had an LP copy of Storm Warning, but now have a CD copy. It's a good one. Morrisey is a very swinging British tenor player who made some solid recordings that tend to get overlooked. I also have these two CDs under Morrisey's leadership. There And Back It's Morrisey Man

There are so many!!!!!!! Here are some that come quickly to mind. Lennie Niehaus Sextet - Contemporary Horace Silver - The Jody Grind Blue Note Jack Montrose Sextet - Pacific Jazz Chet Baker & Art Pepper - Playboys - Pacific Jazz Dexter Gordon & Slide Hampton - A Day In Copenhagen - MPS Benny Carter - Wonderland - Pablo Clifford Brown - Jazz Immortal - Pacific Jazz Cannonball Adderley Sextet - Cannonball In Europe - Capitol

I tend to agree with what a number of people have already said. Under Turrentine's leadership::: Look Out Up At Minton's As a sideman with Horace Parlan: Speakin" My Piece On The Spur Of The Moment

For my taste, it is Cannonball's Riverside recordings that I most enjoy. One problem I hear on the Miles Davis Sextet sessions on Columbia is that Cannonball's playing is seriously overshadowed by both Miles and Coltrane. To my ears, he sounds less comfortable in that group compared to his own Riverside sessions. Those Riverside sextet albums with Yusef Lateef are special favorites of mine. I should also include the dates on TCB and on Capitol with the same sextet. They are to my way of thinking Hard Bop classics. I also give very high marks to "Cannonball Takes Charge", and "Things Are Getting Better" with Bags. In one way of looking at it, "Something Else" may be a better recording because Cannonball does not have to be compared with Coltrane. I know Jim has a preference for Cannonball's later recordings. Personally, I don't hear that much that interests me in most of Cannonball's later albums. Many, though not all, of the later things veer toward a more commercially oriented direction, and included the fadish electric keyboard. That straight ahead hard swinging music that begins with the Savoys and EmArcy albums and reaches it's highest level on the Riverside albums, seems to me to have moved down a different road. It is not a road I find I care to travel on very often.

I don't recall seeing Frank Socolow mentioned here.

This is a different take on the high quality of Mosaic's service. Some years ago I found a copy of the Woody Shaw Mosaic box set for sale by an individual, but without the box or the booklet. I didn't care that much about the box, but very much wanted to get a copy of the booklet. So I telephoned Mosaic, placed an order for a box set by another musician and told them about the situation with the Woody Shaw set I asked if they had an extra booklet they could send me along with what I was purchasing. They said they would be happy to do so and did not charge me for it either!!!!!

There were a number of non-American tenor players who showed a strong Pres influence. British musician Tommy Whittle, and Swedish players Erik Norstrom and Harry Backlund are some who come to mind.

Was out of town for a few days and was very saddened upon my return to hear that the Little Giant was gone. He was one of my favorite living tenor players. Thankfully I got to hear him live a number of times, and his playing never disappointed me. I have a solid collection of just about everything Johnny Griffin recorded, and will be playing many of them in the coming weeks.

I can't think of any Getz from the 50's sessions that are less than damn good. I too love that period of his playing. While the Intrepretations recordings have been reissued on CD by the bootleggers, the sound quality is less than one might hope for. A Mosaic set with top quality sound would be ideal.

I had a couple of Prestige 16 rpm records at one time, but not this one. Don't have any 16 rpm records any longer.

Kenny Barron is one of my favorite jazz pianists. I agree that the two sessions from Bradley's are among his very best recordings. He has made so many very good records that it is hard to just pick one or two other favorites. But here are some trio sessions by Kenny that I would easily recommend. Lemuria-Seascape - Candid Green Chimneys - Criss Cross The Moment - Reservoir The Only One - Reservoir

I have this one by Bosse Broberg. It is a highly enjoyable quintet session. Bosse Broberg / Red Mitchell - West Of The Moon - Dragon

There is some outstanding solo work by George Coleman on this one: Ahmad Jamal - Olympia 2000 - Dreyfus More good George Coleman on : Louis Smith - Just Friends - Steeplechase

I just pulled off the shelf his solo piano CD - RONNIE MATHEWS AT CAFE COPAIN - Sackville 2-2026. Will play it in his memory this afternoon.

An interesting discussion though a bit "over the top" at times. I don't understand this need some people have to display such hostility and negative comments toward a player who is not one of their favorites. One can legitimately point out the things about a musicians playing they do not like, but the nasty ad hominum comments don't seem necessary. Personally, I enjoy the various styles and approaches of musicians who play with differing levels of urbanity, bluesiness, and intensity. I continue to believe that one of the richest aspects of jazz is it's diversity. Chuck put Kenny Burrell in the same category as Tommy Flanagan and Hank Jones. In my opinion that is fantastic company to be in. There is a subtlety, gracefulness and swing along with melodic and harmonic richness in the playing of those three. And they can all play the blues in their own personal manner. While Kenny is not my favorite jazz guitar player, he is a damn good one in my view. He has made a number of very good albums as a leader and as a sideman. I tend to agree with Jim that his best recordings are from the 50's and 60's.