John L

I never really understood Duke's taste in vocalists. I would listen to my Classics Ellington CDs much more often if it wasn't for Irving Mills and the like. Ivie Anderson was pleasant enough to listen to, but no Helen Humes (IMO).

Why should they dub from LPs when they can dub from the Mosaic set? That is what JSP has already done with the Bunny Berigan Mosaic.

Of the two Antilles dates, I think that this one came out best.

I heard the Magic Hour for the first time yesterday. I actually liked it a lot more than I thought that I would. It is not the same sort of posturing from Wynton that we are used to on record. "Hey, look what I can do." It comes across as much more relaxed, not anohter effort to take on Wynton's one man burden of perpetuating Ellingtonian levels of blues and swing in contemporary music. It's just a bunch of musicians having what sounds like some fun, not the usual deadly serious and complex Wytonesque arrangements. I think that Wynton plays well on it. No, it ain't Diz, it ain't Lee. So what?

Thanks for the info, guys. I WOULD get it. But my want list is already too expensive at the moment.

Not much pre-WWII jazz is marketable in Japan. That's the nature of the market. I have a lot of Kid Ory: the two chronological classics, most of the Good Time Jazz material, other stuff on American and Storyville. Is there really a compelling reason to get the Verve recordings as well? Are they much different?

Walter Page and Jo Jones Paul Chambers and Philly Joe Jones Reggie Workman and Elvin Jones Percy Heath and Kenny Clarke William Parker and Hamid Drake David Holland and Jack DeJohnette Charlie Haden and Ed Blackwell Curtis Counce and Frank Butler Mel Lewis and any big band Sidney Catlett and any small band

King Oliver and Louis Armstrong Billie Holiday and Lester Young Charlie Parker and Dizzy Gillespie Thelonious Monk and Kenny Clarke John Coltrane and Elvin Jones Miles, Wayne, Herbie, Ron, and Tony

The cornerstone of jazz deconstruction?

If you cover the J.J sides with chronological classics, you can do the same with the Babs:

Simon and Bev: Points well taken. I guess that the main issue is that people come to jazz from different musical backgrounds, prejudices, and preferences. Therefore, what works for one listener won't necessarily work for another. An optimal list for a new jazz listener should be conditioned on where that person is coming from.

There ain't too much more than the Bud Powell date before Prestige. There are some sessions with J.J. Johnson that you can obtain on the first J.J Johnson chronological classics CD. Given what you have listed, my advise is to pick up the 3 Impluse! CDs. If you don't have them, also keep an eye out for the live trio records from Europe vintage '59. I imagine that you have the stellar sideman appearances with Monk, Miles, Gillespie, and Roach.

Forgive you? How about thanking you? That is a lot more information than I had about it.

Well, it seems like we are discussing several different questions here. Somebody new to jazz might be interested in a list of "cornerstone" albums that had a strong impact on the development of the music, or at least captured music that had such an impact. That doesn't mean that he or she needs to run out and purchase records from such a list before listening to anything else. But anyone who wants to dig deeply into the music will eventually need to come to grips with the landmarks. Therefore, I don't think that the idea of this thread was really so stupid. I think that most of us probably came to jazz through listening primarily to just one genre of the music that we found immediately appealing and then moving on to another, hitting the landmarks gradually as we went. There is certainly nothing wrong with that.

Billie Holiday with Lester Young: All of Me (Take 3): One of the greatest jazz performances (IMO) that ended up too long for a 78.

Disc 2 is almost all alternates. The master numbers are the same as for the released versions. 1) Round Midnight 11/19/68 2) Between the Devil and the Deep Blue Sea 1/10/67 3) This is My Story, This is My Song 11/14/66 4) Introspection 3/2/65 5) Darn That Dream 3/2/65 6) Body and Soul 10/31/62 7) Body and Soul 11/1/62 8) Don't Blame Me 2/27/63 9) I Love You Sweetheart of All of Dreams 10/6/64 10) Sweet and Lovely 10/31/64 11) Everything Happens to Me 10/31/64 12) Everything Happens to Me 10/31/64 13) I hadn't Anyone Till You 11/2/64 14) Dinah 11/2/64 15) I'm Confessin 11/2/64 16) Ask Me Now 2/23/65 17) Everything Happens to Me 2/23/65 18) Introspection 3/2/65 19) Ruby, My Dear 3/2/65

To maintain a maximum degree of objectivity, the choice of "counterstones" should probably be closely related to historical importance for the development of the music. How about 1) Louis Armstrong Hot Fives and Sevens (The cornerstone of jazz itself). 2) Count Basie Decca Recordings (The cornerstone of Swing). 3) Billie Holiday's recordings with Teddy Wilson (The cornerstone of jazz vocals and small group Swing) 3) Duke Ellington Blanton-Webster Band Recordings (The cornerstone of jazz composition, arranging, and big band execution.) 4) Charlie Parker and Dizzy Gillespie's recordings from 1945 (The cornerstone of modern jazz.) 4) Miles Davis' Walkin' and Kind of Blue (The cornerstones of hard bop and modal jazz.) 5) Ornette Coleman's Shape of Jazz to Come (The cornerstone of free jazz) 6) John Coltrane's A Love Supreme (The cornerstone of extended spiritual exploration in jazz improvisation.) Of course, you could make other selections for these and other categories. But you get the picture.

Or those not independently wealthy, or those with any sanity remaining. Wow. Just thinking of being an "Oscar Peterson Completist" makes me quake with fear. Let's see; if I give up food, the wife, the cats, any social life whatsoever...nope; still couldn't afford it! "The cats?" There is at least one good reason to become an OP completist.

I enjoy Oscar Peterson in small doses, although I'm not a big fan for similar reasons to those given by some others here. I will say to this comment that I generally like Oscar Peterson's Trio with Ray Brown and Ed Thigpen much more than his playing behind horn players.

Those are two of my favorites too. You can't go wrong there. On the former, you get some of the best Philly Joe on record too (IMO).

Lon: Is the sound on the Mosaic Vee Jay set significantly better than the Blue Moon series? I thought that Blue Moon did a good job, especially compared to the really trashy Charly releases of this material.

Leroy V. could WALK!

I didn't participate in the Coltrane Half Note Tree. But from an interaction that we had on this board, it became clear that the Tree included material from the Half Note that was not on previous bootlegs or listed in David Wild's discography above.

Whithout marketing ploys like RVGs, we would probably just spend more money on vodka. Thank you, MC, RVG, RMc et al !

Brownie: By chance, I was going to list You've Changed under Dexter in my post, but then thought about Billie! Darn that Dream is one of my favorite Dexter perfomances(Blue Note version), although for some reason he didn't play that number nearly as often as You've Changed. Add: Embraceable You, Out of Nowhere: Charlie Parker Blue and Sentimental: Herschel Evans Star Crossed Lovers: Johnny Hodges Petit Fleur: Sidney Bechet Chelsea Bridge: Ben Webster Rocking Chair: Let Pops and Little Jazz go to battle for it!