Peter Friedman

My three recommendations are: Count Basie & His Orchestra - The Jubilee Alternatives Benny Goodman with Wardell Gray & Stan Hasselgard - Benny's Bop 1948-49 Nat Pierce - The Boston Burst-out

Bill Evans recorded this tune quite a few times. It was also a favorite of pianist John Hicks who recorded it 3 or 4 times. Art Farmer's version on the album HOMECOMING is nice, but not (in my view) among his best efforts. I would say the same thing for Warren Vache's treatment on his CD DREAM DANCING. Tony Coe plays a fine solo in his Paul Gonsalves style on this CD. WARREN VACHE/TONY COE/ALAN BARNES OCTET - JUMPIN' - ZEPHYR Ralph Moore shows us his vibrato on his solo from his CD WHO IT IS YOU ARE on Savoy.

Marcello, These photographs bring back some nice memories. I was at that gig the evening you took the pictures. That is when I was living in Henrietta, NY.

Yes, that's a good one!

Earlier today I was playing the Art Blakey's Jazz Messengers with Thelonious Monk CD on Atlantic. The playing of Bill Hardman struck me as outstanding. His solo on Blue Monk is a fine example of Hardman's fine jazz trumpet playing. There were many very good hard bop trumpet players who came to the forefront in the late 1950's and beyond. As a result Hardman was not given the recognition that, in my view, he deserved. Players such as Lee Morgan, Freddie Hubbard, Donald Byrd, and Blue Mitchell received many accolades while Hardman was rarely mentioned as belonging to that top level group. One exception was an article I recall reading many decades ago in the British periodical JAZZ MONTHLY. In that article , author Michael James wrote in glowing terms about Bill Hardman, and if I recall correctly indicated that he generally preferred Hardman's playing to that of Morgan and Hubbard. I share that opinion. In Hardman's playing I hear a strong Clifford Brown influence but with an individualism that fits beautifully with the hard bop music of Jackie McLean and Blakey's Jazz Messengers. His trumpet lines flow with harmonic and rhythmic skill that results in solos that are melodically logical and most enjoyable. Though I don't recall the exact year, (perhaps the late 1970's?) I saw the Bill Hardman/Junior Cook Quintet with Walter Bishop,Jr., Paul Brown and Leroy Williams playing at a New York City club. While Junior Cook played very well, I have a strong memory of how highly impressed I was by the terrific playing of Bill Hardman. Many of his solos inspired me to break out in a wide smile and sometimes a vocal exclamation of something such as "Yeah!!!" To the best of my knowledge that was unfortunately the only time I saw Bill Hardman play in the flesh. However I have a very large collection of recordings with Hardman that I get pleasure from hearing.

These two Atlantic CDs from 1986 and 1988 are in my view among his best recordings. Heads Up Fire

I didn't care much for Shearing for many years. Thought he was far too commercial for my taste. Over time I began to appreciate his playing quite a bit. His style of playing can't fairly be compared to the hard bop piano players such as Horace Silver, Cedar Walton, John Hicks, etc. It's apples and oranges. Here are a few of the Shearing CDs I enjoy: Breakin' Out - Concord Jazz Like Fine Wine - Mack Avenue The MPS Trio Sessions - MPS I Hear A Rhapsody - Telarc

I like this one quite a bit. However, I would probably pick these two recordings as my favorite Hawes on the Contemporary label. The Seance I'm All Smiles It is interesting to me that on some of the later Contemporary dates a Bill Evans influence can be heard creeping in to Hampton Hawes playing.

Yes, but catatonia isn't evidence of "creative decline". And it's the term "creative decline" that's I think is the issue. The catatonic state is more likely to be evidence of decline in Monk's general well-being though. Does that sound reasonable? I agree with that completely. I sometimes feel that there is an expectation from some listeners to hear a musician to have exactly the same idiosyncrasies, no matter what point he or she may be in life. But that point of view negates growth or change, which are elements of creativity. It seems logical that if "growth" can occur, it is also possible that "decline" can also take place. The reasons may vary, but there is no question in my mind that a musicians playing may decline. Some of Coleman Hawkins last recordings show clear evidence of decline. Yes, his health and mental well being may have been the reasons why, but nonetheless his playing had declined.

Just pulled two very good small group CDs off the shelf with Sal Nistico. Neither has been mentioned here to the best of my recollection. Both feature a front line of Nistico with other tenor players. Woody Herman Presents Vol.2 - Four Others - Concord Jazz Nistico along with Al Cohn, Bill Perkins ,Flip Phillips & rhythm section Three Generations Of Tenor Saxophone - JHM (2 CD set) Nistico with Johnny Griffin & Roman Schwaller & rhythm section

Jim's suggestion above is an excellent one. Here is one that is also a beauty. Harry Allen/Coleman Hawkins - 1933 - Hep CD 1028

In my view, all the periods of Monk's recordings have something to offer. The Riverside's though, are my favorites. I do admit to hearing a certain "sameness' to the quartet sessions with Rouse. I find that those recordings are ones I would not want to listen to one after another. They are more enjoyable to me spread out over time for listening purposes. For some reason, I actually find Rouse to be a more interesting tenor player on a number of the recordings he made as leader without Monk. These four are probably my favorites. Takin" Care Of Business - Jazzland OJC Moment's Notice - Storyville Soul Mates - Uptown Social Call - Uptown

I recently picked up a copy of a 2 CD set on the Giant Steps label by Ronnie Scott titled "Birth Of A Legend". It covers Scott as both leader and sideman with a broad variety of groups from 1947 through 1953. A most enjoyable 2 cd set.

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