Peter Friedman

One of the things that I find especially interesting in threads such as this is how the age of the listener is so significant. People of my age - I am old!!!! - who were serious jazz fans did not have to make these kind of decisions. When each Horace Silver was initially released I would automatically buy it. So my Horace Silver collection just evolved naturally over time. As Horace was a favorite of mine it was sensible to acquire each of his recordings in chronological order as they became available. That is in fact the way I acquired most of my jazz collection from the 50's, 60's and 70's on up to the present. Of course financial considerations meant I couldn't get everything, but when it came to the musicians I liked the most, I did my best to get a copy as soon as possible after it was issued.

I have these two CDs with Jan Johansson as leader: 8 Bitar / Innertrio - Heptagon 186 & Arne Domnerus - Younger Than Springtime - Dragon 005 I have many other where Jan Johansson is a sideman.

I have three Stefano Bollaini Trio CDs on Venus. Black And Tan Fantasy Falando De Amor Ma L'Amore No

I recommend 4 Bud Freeman CDs on the Chronogical Classics label. 1928-1938 - Classics 781 1939-1940 - Classics 811 1945-1946 - Classics 942 1946 - Classics 975 He also has some fine solos on a large variety of recordings with Eddie Condon and other members of the Chicago School.

You need all of these or you will be missing a large dose of wonderful music. I would agree with those who suggested you start with H.S and The Jazz Messengers.

I have owned a set of Paradigm Reference Studio/20 speakers for about 6 years. They are excellent. Before I purchased them I listened to a number of other speakers in the same price range and the Paradigm's were definitely the ones I preferred. I later discovered that the speakers that I bought have received great reviews from a variety of audiophile publications.

I have a 2 CD set that includes ALL the material you listed from this session not on THE MAN I LOVE - BLACK LION BLCD 760107. It is JOHNNY GRIFFIN - HUSH-A-BYE - BLACK LION TKCB-70856 (Japanese) This 2 CD set has a total of 15 tracks and includes duplicates of 5 of the 6 tracks on THE MAN I LOVE cd. The only track on THE MAN I LOVE cd that is not on the 2 CD set is "The Masquerade Is Over". The track you are missing - "You Leave Me Breathless" - is on the 2 cd set.

If you like Hank Jones, then you should very much enjoy the playing of pianists Tommy Flanagan and Kenny Barron. In many ways they are both stylistically similar to Hank Jones. A few tenor players that share some of the qualities I find in the playing of Hank Mobley might be Harold Land (his early pre-Coltrane influenced recordings), Junior Cook, and Tina Brooks.

I generally like almost all of Lee Morgan's recordings, but do get the sense that he seemed more comfortable playing Hard Bop. There is a crackling excitement filled with energy that I hear in his '50's sessions. As he moves into the mid-60's the spark doesn't seem to be as bright for me. Not that he plays poorly, far from it, but the excitement of the young Lee Morgan strikes me as a bit more tempered as time moved on. A session such as "Peckin' Time" on Blue Note with Hank Mobley and Wynton Kelly would be a fine example of an ultra fine hard bop recording where Lee Morgan is in a truly comfortable groove that fits him perfectly.

There are a very large number of worthwhile re-issues to get on both Lone Hill and especially Fresh Sound. Here are just a few that have not been mentioned that I can quickly suggest. Lone Hill Dave Bailey Quintet/Sextet - The Complete 1 & 2 Feet In The Gutter Sessions Budd Johnson - The Stanley Dance Sessions Fresh Sound The John Williams Trio - Complete master Takes 1954-1955 Roy Brooks - Beat (with Blue Mitchell & junior Cook) The Pepper/Knepper Quintet (with Pepper Adams & Jimmy Knepper)

There have been a lot of favorable comments about the Horace Parlan recordings on Blue Note/ Mosaic. If you enjoy Parlan's playing be sure to check out his many CDs on Steeplechase. There are 9 of them and they are all very very good.

I agree with Stereojack. It's a good session, though there are better Blakey recordings. One additional point about the " Buttercorn Lady" date is that the piano player is Keith Jarrett before he became a prominent well known leader and solo performer.

Most of the Shorty Rogers RCA albums are very good as are all his Atlantic recordings. The out of print Mosaic set of all Shorty's Atlantic material is a gem. Also well worth getting are the two much later Shorty Rogers CDs on Candid which include many of the west coast luminaries such as Bud Shank, Bob Cooper, Bill Perkins, Pete Jolly and Conte Candoli. Shorty Rogers/Bud Shank & The Lighthouse All Stars - America The Beautiful - Candid 79510 Shorty Rogers/Bud Shank & The Lighthouse All Stars - Eight Brothers - Candid 79521

Wonder if you are referring to this one? Zoot Sims Quartet - Live At Ronnie Scott's '61 It was originally on Fontana and I have a CD reissue on Fresh Sound.

So is this available on cd? I used to own it on Lp but have never seen a cd. Yes, I have a Japanese CD released on the Liberty label.

My definite preference is for "Walks". One reason is the presence of pianist Carl Perkins, who died young and is therefore on a very limited number of recordings. Carl Perkins playing almost always was something very special.

Other than "Blues And The Abstract Truth" (not sure I would call this a small group album?), my favorite Oliver Nelson small group album is: MEET OLIVER NELSON on Prestige/New Jazz with great playing by Oliver, Kenny Dorham & Ray Bryant. If you don't know this one I suggest you check it out.

I once had the Zoot Sims "Waiting Game" LP on Impulse. I thought it was the least interesting album by Zoot I ever heard. I disposed of it.

One of the last recordings Pete Jolly made was a duo piano recording on Fresh Sound with the excellent Swedish pianist Jan Lundgren. It is titled COLLABORATION, and has Chuck Berghofer and Joe Labarbera on bass and drums. It's a marvelous CD.

I don't share Larry Kart's view and am more in agreement with Stereojack. I do like Zoot's recordings from his early days through his final period. His early recordings swing beautifully, and are terrific. But it's his Pablo years where the maturity and musical depth comes though far more strongly in my opinion. However, the great thing is that we can have it all!!!!!!

Here are some other recordings where you can hear Tommy Turrentine. Paul Chambers - First Bassman - Vee Jay Booker Ervin - The Book Cooks - Bethlehem Jackie McLean - A Fickle Sonance - Blue Note Dexter Gordon - Landslide - Blue Note

Two that have not been mentioned that I like are the Maybeck solo performances by Barry Harris, and Roger Kellaway.

I was fortunate to have the opportunity to see Frank Wess live back in October 2006. He was playing in a quartet with Michael Weiss on piano. The music was excellent. Both Wess and Weiss played at the top of their game. The creativity and swing were simply outstanding. It was some of the best live jazz I have heard in a long long time.

Like many jazz musicians who had a reasonably lengthy career, Getz went through a number of different periods. The Getz of the quintet with Raney and Al Haig is different than the quintet with Brookmeyer and John Williams, which is different from the Verve recordings with Lou Levy, and then the Bossa Nova period, the time with Chick Corea, and then eventually on to the group with kenny Barron. I left out a number but you get the point. The sensibility of the quintet with Brookmeyer and John Williams as typified by the Shrine recording is a musical delight. I would not say it was better or worse than many (though not all) of the other Getz periods/groups. The great thing is that we have all of them to enjoy.

I recall one evening in Rochester ,New York spending a fair amount of time speaking with Bill Evans between sets at a local club. I asked Bill why he so rarely played the blues. Bill seemed a bit surprised and said to Eddie Gomez sitting nearby, Eddie, don't we play the blues often? Eddie wasn't sure what to say either, but the point seemed to be that neither Evans or Gomez seemed aware that they played the blues so infrequently.