Peter Friedman

Los Malos Hombres from the Duke Pearson album "The Right Touch". Very swinging solos by Stanley Turrentine, Freddie Hubbard and Duke Pearson.

Lee got yelled at for not playing a long enough set. A few years ago I was at a Jazz Party and the person who ran the event told a friend of mine he would not be inviting a musician/leader back again. The reason was that he played longer than he was scheduled to play. i realize it was a different situation, but it strikes me as funny that you can get in trouble for playing too short a set and also for playing a bit too long a set.

Just yesterday I watched this one. Bud Shank - Against The Tide : Portrait Of A Legend - Jazzed Media I very much enjoyed it. Bud is interviewed and plays short bits of music with his excellent quartet of Mike Wofford, Bob Magnusson and Joe LaBarbera. A CD is also included that features the complete versions of the tunes that were heard very briefly on the DVD. Other tunes are also included on the CD.

Try to locate this one. Edmond Hall -1937-1944 - Classics Some of the tunes here are also on the Blue Note Jazzmen set.

The bad news keeps coming. But that's the nature of things.

Richard Wyands has a fine trio disc available on Storyville, too (with Lisle Atkinson on bass!), "Then Here and Now": Richard Wyands has a number of other very nice trio CDs available too. Reunited - Criss Cross Half And Half - Criss Cross The Arrival - DIW As Long As There's music - Savant Get Out Of Town - Steeplechase Lady Of The Lavender Mist - Venus

I get the sense that in one respect Jim has it backwards. It is WalMart that is the relatively "new' way to sell things. It replaced the locally owned smaller stores and ruined many smaller ciites and towns mainstreets. This sense that the new innovations and and ways of doing things move our society in a positive direction is highly questionable. SOME new things are very good indeed, but others are destructive and harmful to the society. The point , once again, is that we benefit from a mixture of both.

I am not sure why there has to be an "either/ or" answer. New developments may continue to change the shape of jazz, while at the same time some musicians will prefer to play within styles that were formed in the past. This sort of thing is nothing new. As each new jazz development came into being there have always been many who chose to not pursue the "new" direction. In some respects Jim's argument can lead to identifying a very tiny handful of jazz greats who made a powerful mark on the music and only listening to them. So, Louis, Bean, Rabbit, Pres, Bird, Rollins, Trane, and a dozen others are the legitimate group. Why listen to Stitt is we can hear Bird, why listen to Brew Moore when recordings by Pres are available. I don't buy it. As Bev indicated, each musician brings something of him or her self to the music. There will always be a limited number of MAJOR innovators and performing artists, but there is much musical enjoyment to be had from those not at such a lofty level.

An interesting thread but one factor seems to have been ignored. The age and listening background and experience of the individual making the judgements. I expect I am one of the oldest members here. I developed my initial jazz listening experience in the period when both West Coast jazz and Hard Bop were developing and flourishing. I "bonded" with that music and it became vitally important to me in a variety of ways. I spent some time listening to Ornette, Albert Ayler and a number of other "free jazz" players and soon realized that it was not something that gave me the musical/ emotional pleasure that I got from the above mentioned styles. In fact, I began to find a lot of musical richness in jazz that pre-dated my entry into becoming a serious jazz listener. So the jazz of the 20's, 30's and 40's entered my pleasure dome. A good friend once put it very well when he said that both he and I like our jazz to be based on tunes with chord changes. That was basically the way jazz evolved up to the time when Ornette and others moved things in a different direction. As the original players associated with Hard Bop, West Coast Jazz, Mainstream, etc. have been dying off I find it very rewarding to find there are newer players who have come on the scene who are continuing to play in the styles of jazz that are highly meaningful to me. It is also true that many of these "newer" players learned to play standing next to members of the previous generation. If the musical traditions are passed on so directly that would seem to fit with the way things have been happening throughout so much of the history of jazz. In the final analysis it boils down to personal taste. While some find the playing of someone such as Eric Alexander, and dare I mention Scott Hamilton, to be old fashioned, and tradition bound and not "what's happening" in 2010, I hear their music as refreshing, swinging, and emotionally rich in a sea of rather unmelodic,rather dull uninteresting music that does not speak to me. That "bonding" that took place for me back in the mid to late 1950's when I began collecting records and going to hear live jazz can still remain alive and well for me when I can listen to Grant Stewart, Eric Alexander, Scott Hamilton and many others who are keeping that music I love so much alive.

The 3 CD set with Rene Urtreger / Henri Texier/ Daniel Humair - HUM - is one everyone who likes the playing of Rene Uretreger will want to get. A terrific set from 3 different time periods.

I am in total agreement with Kevin too. Joe Magnarelli , Terell Stafford, Brian Lynch and Jeremy Pelt are also solid Hard Bop Trumpet players I like. One additional name not mentioned in this thread is John Swana from Philadelphia. John Tapscott was right in the bulls-eye when he said the Danny D'Imperio's CD titled "The Outlaw" on Sackville is a killer Hard Bop session.

To be honest, these Phineas Newborn sessions disappointed me. The poor sound and out of tune piano spoiled them in my view. I would only recommend them if the person was a Phineas completist and already had all his other recordings.

The string quartets of Haydn are amazing. It boggles the mind to recognize that Haydn wrote so much wonderful music. 104 symphonies, piano sonatas, piano trios, and a large range of other music. One of the truly great composers of all time.

Not sure about the entire week, but over the past couple of days this one is a favorite: "My Foolish Heart" by Stan Getz from the CD "LIVE AT THE LEFT BANK".

In Random order: Ruby Braff - For The Last Time - Arbors The James Moody and Hank Jones Quartet - Our Delight - IPO Grant Stewart - Plays The Music Of Duke Ellington and Billy Strayhorn - Sharp Nine Peter Bernstein Trio - Monk - Xanadu / The Orchard Joe Cohn - Restless - Arbors Gary Smulyan - High Noon - Reservoir Joe Magnarelli - Persistence - Reservoir Dick Hyman - At The Old Mill - Sackville Stefano Bollani - Carioca - EmArcy / Universal Ronnie Cuber Quartet - Ronnie - Steeplechase Jimmy Cobb Quartet - Jazz In The Key Of Blue - Chesky Stan Getz & Kenny Barron - People Time: The Complete Recordings - EmArcy / Universal Jimmy Rushing/Zoot Sims/Al Cohn - The Scene - High Note

Great story!!!!!!!!

Piano Trios are a specialty of mine. Here are some of my favorite CDs by musicians who have a low profile, and whose recordings deserve, in my opinion, to be heard. I don't believe any of these have been previously mentioned in this thread. Frank Strazzeri Trio - I Remember You - Fresh Sound Jodie Christian Trio - Blues Holiday - Steeplechase Hugh Lawson Trio - Prime Time - Storyville Bertha Hope Trio - Nothin' But Love - Reservoir Jan Lundgren Trio - Cookin' At The Jazz Bakery - Fresh Sound Michael Weiss Trio - Milestones - Steeplechase Vince Benedetti Trio - JHM Dino Losito Trio - Like That - Bass On Top Peter Beets Trio - New York trio - Criss Cross

Mark, Thanks for posting the link to that wonderful YouTube video. I agree with your comments about Terry Pollard's piano work here showing a blend of Bud Powell and (early) Horace Silver styles.

Never really cared much for "Orgy In Rhythm" or" Holiday For Skins" but like this one a lot. Haven't listened to it in a long time. This thread has encouraged me to pull it off the shelf. i plan to listen to it within the next few days That's one of the things I like best about Organissimo. Reading various threads reminds me to listen again to a recording I haven't heard in quite some time.

Terry Pollard was another in the group of fine jazz piano players who came out of Detroit in the late 40's through the 60's. Tommy Flanagan, Barry Harris, Roland Hanna, Will Davis, Hugh Lawson, and Kirk Lightsey come quickly to mind. Hank Jones from Pontiac was bit earlier. I vividly recall going to hear Terry Pollard play solo/ and trio piano a few times in a club in Detroit in either 1963 or 1964. She fit perfectly in that T. Flanagan / B.Harris bop style that I have so greatly enjoyed all these years. Her playing was so impressive that I was never able to understand why she never had the opportunity to record some piano trio albums. Though a solid vibes player, it was her terrific jazz piano work that was especially impressive.

Bass player Larry Grey Did piano player Willie Pickins spend time in Chicago Junior Mance

Joe, I noticed one rather strange thing when looking at the tracks on some of these XRCDs. Horace Parlan - Speakin' My Piece - has 2 alternate tracks added which are not on my Japanese CD. Tina Brooks - True Blue - does not have the 2 alternate tracks that are on my American CD? This seems inconsistent, and means I will be missing 2 tracks if I was to purchase the Tina Brooks XRCD, and getting 2 additional tracks if I purchase the Horace Parlan XRDC. Can you explain?

Though this session does not have the very best playing by either Getz or Evans, I nonetheless find it quite enjoyable.

Happy Birthday Barry. Barry Harris has been one of my 3 or 4 favorite jazz piano players for more than 50 years.

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