John L

I think the second Jump Up album was called "Plug It." I didn't care for it either. But some of those Gramavision albums were very good, including Gallery and Again and Again cited above. I also like Impala quite a bit.

Nice that Jupiter Variation is being reissued. That is the only collection that includes "Peace on Earth" without Alices's overdubbing. I didn't even realize that it was on CD before.

Expression has always had a place in my heart as something like the last word from Trane. Some of it is quite beautiful as well. At the time I bought it in the mid-70s, Stellar Regions, the Temple concert, and the Olatunji Concert were still far from being discovered/released. Therefore, for a long time, along with Interstellar Space, Expression was the only real sound picture we had of Trane at the end. It was a distinct picture too. Stellar regions filled out that picture even more. But the Olatunji Concert sort of shattered it, making everything a bit more confusing.

Mike Steven or Mike Stevenot (as in discographies I have seen)? He is rather mysterious, it seems that he didn't make many recordings at all.

Good point about Griffin. I always considered it strange that there were no other known recordings of Johnny Griffin in Europe from 1960. I guess that explains it.

Yes, Bud composed so many good tunes that he probably forgot many of them himself. That is part of the challenge of being a genius.

After You've Gone is identical to the recording on the Vocalion 78 recorded in January, 1937 with Gladys Palmer on vocals. It is a great Little Jazz recording but there is no reason to listen to this version in very poor sound. The second track is Rockin' Chair (not Roy Eldridge, obviously). It sounds familiar but I can't place it.

I don't think it was primarily the rhythm section as Bud was still in great shape for the concert recorded the next day in Geneva with a different rhythm section. He had already cooled down by the time the recently released Copenhagen recordings were made in March, 1962. That is the way Bud seemed to be throughout his career - up and down. What explains the sudden decline into 1954-1956 that was at least partially overcome by 1957? John

Keith Jarrett? I have to say that, while I appreciate a lot of what Keith Jarrett has done, I have never enjoyed his blues playing much.

My favorite pianist for blues might be Little Johnny Jones, but I guess he doesn't play enough notes and keys even to qualify for "jazz-oriented blues pianist." I feel strongly that Count Basie and Thelonious Monk fit the bill for this thread. Both of them were absolutely about the blues, all of the time. Rooster asked a question earlier if there is a jazz pianist who is like Ornette Coleman for the blues in jazz. I would say Thelonious Monk. Like Ornette, Monk came straight from the blues, had a genius in highly unique musical sensibilities, and was able to share it all with us through music. I don't know if Jay McShann has been mentioned yet. He is another great blues player.

You can start with Avery Parrish.

I pre-ordered immediately, but now have an estimated arrival date of November 20.

It was Stanley Turrentine who first sparked my passion for jazz. I was listening to FM "Quiet Storm" radio and Pieces of Dreams came on from the just released Don't Mess With Mr. T album. The big warm sound grabbed me wouldn't let me go. So I bought the record, then several more Stanley Turrentine albums. Before I knew it, I was listening to Coltrane.

Thanks!

You mean So What (4-2-59)? I don't know of any LP or CD with this track. But there may have been a DVD. It was recorded for WCBS-TV https://www.youtube.com/watch?v=3VGp_qBtZbg

Back to the original question, in some ways I think that V.S.O.P. was historically more important than Massey Hall. As has already been noted, the music played at Massey Hall, although very great, was already a decade old at the time. The real historical significance of the recording is probably the fact that (I believe) it is the only recording that we have of Diz, Bird, Bud, and Max all playing together. Diz, Bird, and Bud were also recorded together in 1951, but with Roy Haynes on drums. Mingus in the mix is an added attraction. As far as the historical significance of V.S.O.P. is concerned, I think of it as one of the confirmations in the 70s of the enduring compelling beauty of classic acoustic jazz at a time when all of the individual musicians in the band, except maybe Ron Carter, were pursuing fusion projects. I think that had a real influence on where jazz went in the 1980s, for better or worse.

Thanks, Rooster. Yes, I later saw the other thread. Looks good!

Interesting. Will there be something more with Marsh and Konitz?

I agree very much with your assessment of Horace Parlan. He also made a great series of records for SteepleChase.

I just had a chance to listen to this and it is certainly very worthwhile. For some reason, I didn't have any of these recordings before even though I have a large Bud collection, including the majority of Francis Paudras tapes. I have to admit feeling slightly disappointed when listening, given that these recordings are from March, 1962 and Bud seemed to be on white heat fire in January and February (Lausanne and Geneva). But this is more usual early 60s Bud, more like the Golden Circle recordings from April, which is to stay still very good and engaging. The tracks with Don Byas and Brew Moore are my favorites on the disc.

What I object to is the rejection of all of Hip Hop over lyrical content that is only in some Hip Hop. Should we reject all jazz if we don't like Dixieland?

They are all great but if I had to choose two, it would probably be those 2 as well.

Woody Shaw's Woody III and Chet Baker/Duke Jordan No Problem are two that I still listen to from 1979.

Mulatu is still playing and making music after all these years. When I was in Addis Ababa before the pandemic, I would usually see him once a week at African Jazz Village. Sometimes he would play. Sometimes we would just watch others play. He is a living legend.