Peter Friedman

I very recently acquired a cd with Kamuca that just became available for the first time. Richie Kamuca & Lee Konitz - Live At Donte's (1974) - Cellar Door

My copy of Barry Harris - Live In Rennes - arrived in the mail on Thursday. Looking forward to hearing it. This brings back memories as I spent a month in Rennes back in 1973. Don't recall finding much , if any, jazz there at that time.

Will the Dreyfus label continue to operate now that Francis Dreyfus has died?

Ted, The Nat Pierce material on Keynote has also been reissued as part of a 2 CD set on Fresh Sound. The Swingin" Nat Pierce Band - Kansas City Memories - Fresh Sound 2232 Aside from the Keynote material, the 2 cd set also has Nat Pierce sessions from these labels - Fantasy / Vanguard / Coral.

I was fortunate to get a copy of this Freddie Redd CD back when it first came out. Freddie has so few recordings out under his name it makes this one that much more important. I haven't listened to it in a few years so will pull it off the shelf and play it in the next day or so.

"Yazoo City Blues" from Rickey Woodard's recent cd titled Pineapple Delight. This tune gets a beautiful swinging groove that makes me tap my toes and snap my fingers nonestop.

Pianist Donald Vega. Vega is from Latin America and lived in California for a while but is now in NYC. I heard him live a number of times over two days last month at the Paradise Valley Jazz Party.

"You Must Believe In Spring" by Mike Murley and David Occhipinti Duo from Duologue on Cornerstone Records Mike Murley is an outstanding tenor saxophone player. He lives in Toronto and is not well known outside Canada.

This is a truly interesting thread. It demonstrates how even among experienced jazz listeners there is such a wide range of tastes. I personally agree with some of the comments regarding artists people don't like. But on the other hand, I am a bit surprised that some of of the names mentioned are among strong favorites of mine. It was rather shocking to see names like Zoot Sims, Dexter Gordon, Jackie McLean Tommy Flanagan and Hank Jones listed. Contrary to what Larry said, I believe Zoot's Pablo recordings are his best work, though I do agree with him on what he said about Al Cohn. I was not surprised to see negative comments about Scott Hamilton and Phil Woods though I don't share those opinions. One name I thought would be mentioned often - but was not - is Oscar Peterson, though I happen to enjoy his playing.

"Bluegenes" by Rob Schneiderman with Todd Coolman and Leroy Williams From CD titled GLASS ENCLOSURE on Reservoir. Schneiderman's playing here is in a relaxed blues vein with a definite Bud Powell influence.

It looks as if immediate family relationships in jazz have vastly exceeded what I thought would be the case even though I began this thread with a lengthy list. It might have been easier to list those without close family ties.

Scott LaFaro and Eddie Gomez are two bass players I don't like all that much. They are both highly skilled, but their styles are not what I really find most appealing from bass players. I have a very large number of recordings with both of them as sidemen. I also recall seeing Bill Evans with Gomez 3 or 4 times and kept thinking that I wish someone else was playing bass with him.

I am unfamiliar with Jon Raney? Is he Jimmy's son or brother and what does he play? he is not listed in LORD.

I thought it would be interesting to consider the number of well known jazz musicians that have close blood relatives who are also jazz musicians. Below is a list of those who came to mind where fathers, sons, brothers, sisters or daughters were/are jazz musicians. I did not include wives and husbands or more distant relatives. The more I thought about it, the more names I came up with, though I surely have left off many others. Adderley, Julian & Nat Ammons, Albert & Gene Barron, Kenny and Bill Bryant, Ray & Tommy Byrd, Charlie & Joe Clayton, John, Jeff & Gerald Cohen, Anat & Avishai Cohn, Al and Joe Coleman, Ornette & Denardo Dodds, Johnny & Baby Dorsey, Tommy & Jimmy Eldridge, Roy & Joe Eubanks, Kevin, Robin & Duane Farmer, Art & Addison Freeman, Von, Bruz, George & Chico Goodman, Benny & Harry Green, Urbie & Jesse Heath, Jimmy, Percy & Albert Jackson, Milt & Alvin Johnson, Budd & Keg Jones, Hank, Thad & Elvin Land, Harold & Harold Jr. Laws, Hubert & Ronnie Leonhart, Jay & Michael Marsala, Joe & Marty Marsalis, Ellis, Wynton, Branford & Jason Mitchell, Red & Whitey Monk, Thelonious & T.S. Montgomery, Wes, Buddy & Monk Newborn, Phineas & Calvin Pertuccini, Michel , Tony & Louis Pizzerreli, Bucky & John Powell, Bud & Richie Raney, Jimmy & Doug Redman, Dewey & Joshua Rowles, Jimmy & Stacey Sims, Zoot & Ray Thigpen, Ben & Ed Turrentine, Stanley & Tommy Vache, Warren & Allan Wiggins, Gerald & J.J. Wilkins, Ernie & Jimmy Williamson, Claude & Stu Wright, Lamar & Elmon

Though not originally recorded by Blue Note: James Clay is on the Blue Note CD - Tenorman - The Lawrence Marable Quartet Paul Gonsalves is on the Blue Note CD - Togo Brava Suite - Duke Ellington

Gene Ammons is on the Bennie Green - Soul Stirrin" album on Blue Note. Ralph Moore is on this Blue Note CD - Superblue 2.

Brownie and Paul, Thanks for the input. Believe it or not, I read the Gigi Gryce book, but had forgotten about the Wallington / Annie Ross episode until you responded to my question.

The booklet notes on Lionel Hampton's Paris All Stars ( Vogue 74321511502) indicate that George Wallington was the piano player on Lionel Hampton's 1953 European Tour. The notes say that Wallington "abandoned the Hampton crew on it's passage through Brussels". Claude Bolling who replaced Wallington is the piano player on this Vogue recording. Is anyone aware of the story behind this situation?

I like Harry Allen's playing very much. He is in the same category as Scott Hamilton, by which I mean he enjoys playing in the style of Pres, Getz, Zoot, Al, with a bit of Ben Webster thrown in every once in a while. Coltrane, Rollins, and Joe Henderson are not his influences. I have the Day Dream CD and very much enjoy it. On Organissimo, I suspect Harry Allen is not a tenor player who will get many accolades, but on some other jazz lists he is thought of very highly.

Bought my first CD player - a NAD - in 1984. As some others have said, there were only a small number of jazz CDs available at first so I bought quite a few classical CDs. My focus on classical CDs re-awakened my interest in classical music which has continued since then. I slowly reduced my jazz LP purchases waiting for things to become available on CD. As time went on i began to dispose of my jazz LPs as I acquired jazz CDs to replace them. Though everything has not been reissued on CD, I have been surprised at the very large number of jazz LPs that did make it to CD, including many I never would have expected to have done so. Though I still have jazz LPs I almost never play them. I prefer CDs for many reasons. The only advantage I personally find that LPs have is the larger sized album cover art.

The flute is not among my favorite instruments for jazz. Sam Most is probably my favorite flute player. He made some very ggod recordings for Xanadu. Lew Tabackin is technically a very good flute player, but his flute playing lacks the jazz feeling that i hear in his tenor work. James Moody, Yusef Lateef and Roland Kirk are other flute players I enjoy, BUT - I much prefer to hear them play tenor saxophone. As is the case with soprano sax, the primary instrument for most flute players is the tenor or alto saxophone . In just about every case, my clear preference is to hear the musician play alto or tenor rather than flute or soprano sax.

I too was among those who bought the LP when it first came out in the 50's. It is, in my opinion, a true classic of west coast jazz. Bill Perkins was one of my very favorite tenor saxophone players. He had that Pres influenced cool style down pat, and his sound on the horn was gorgeous. Unfortunately he later changed his style and his sound which disappointed me greatly. John Lewis and Jim Hall also make lovely contributions to this fine session. Some albums just seem to click. Everyone here seems to be at their very best and shares the spirit of the session. Even the cover seems to reflect the the time in which it was recorded and the basic feeling of the music. I picked up the CD on Pacific Jazz when it initially became available. Haven't played it in a while. This thread has inspired me to pull it off the shelf and play it very soon.

I very much agree with you here on all counts.

I have a 2 CD set of Red Rodney's Muse recordings. RED RODNEY - BLUEBIRD - CAMDEN DELUXE /BMG 74321 610812 It includes tunes from 5 different Muse LP's. Two tunes from "The Red Tornado" are on this set. The title tune, and "The Red Blues".