John L

If you click on the "liner notes" box, you get the full liner notes and complete discographical information. It looks exciting!

Fantastic!

Yes, the improvement in sound quality from the Decca set is HUGE. Alternatively, HEP was the first label to issue the Decca recordings digitally in outstanding sound. I bought the Masters of Jazz series when it came out, so much extraordinary live Basie from the 30s.

I imagine that the remaining two are the Fate Marable recordings from 1924: Frankie and Johnny and Pianoflage.

Thanks

Thanks. On the recording, there is also the beginning of Green Dolphin Street (Miles' solo) following So What.

Fascinating! Thanks I was just reading about how Miles wanted Buddy Montgomery to come with them to Europe in 1960, but Buddy was too afraid to fly. It is really nice to have this unique recording of the sextet with him.

This one hurts. He was in his prime.

The one early Wynton Marsalis record that has somehow stayed with me is J Mood. I don't know why, but sometimes I just feel like listening to it. It has a certain vibe that I like.

Looks exciting!

Happy birthday!!!!!!!

In my discography, Diggin' Diz with Bird is D1000. It is the first recording ever made on Dial. Diggin For Diz is Dial 1002. Dial 1004 is When I Grow Too Old to Dream" recorded at the same session as Diggin' For Diz.

This particular broadcast was notable for capturing the time that Billie Holiday was the female singer in the Basie band.

Yea, there is a lot of echo (reverb) on Sonny's horn on the studio tracks.

Loosdrecht is only two tracks, although I am glad that I don't have the perfect pitch that would hinder my enjoyment of it. But Anhem is the crown jewel here, in my opinion. It is all of side 2 and one track on side 1. I can't get enough of it!

I just had a chance to hear this one. Wow. Wow. Wow. An instant classic!

Yes!

Yes. The excuse that the problem was fitting it on two CDs somehow does not seem very credible.

Riffin' the scotch

I am a big Mal Waldron fan and have a very large collection. But it is certainly not complete. A complete Mal collection would be HUGE.

My reading of Stomping the Blues was two major theses. The first one I agree with - that there is a broad blues aesthetic that is present not only in jazz but in other African American music, and that much in the development of the music can be understood as a development of that broad aesthetic. The second thesis is that jazz, as the most advanced and sophisticated realization of this aesthetic, is superior to other forms of blues music. For some reason, I can't find the book right now, but I even recall a specific quote on Duke Ellington being superior to Muddy Waters and other greats of non-jazz blues. I would assume, but am not sure, that he had the same view of superiority to "less sophisticated" soul jazz.

And yet a handful of the writers were not white. Albert Murray, for example, always preached the superiority of "sophistication (especially Duke Ellington)" in the blues over more "primitive" approaches.

I don't either. It really bothers me how some jazz histories treat soul jazz in a very disparaging way. When I got to that part in Alyn Shipton celebrated "New History of Jazz," I even had to put the book down. I am still waiting for the book that can treat the development of jazz, blues, R&B, and gospel in a truly integrated way. That would naturally give justice to the music that doesn't fit neatly into just one of these categories.

This latter session is on the above CD, but Pres only plays on Lady Be Good.

Actually, the only tracks that both Miles Davis and Lester Young play on together are How High the Moon, Lester Leaps In, and Lady Be Good.