felser

Not it, though that sounds like a good listen!

Not Davis, and that is the greatest compliment you have ever given this tenor player (who is also a sideman on the date).

Nope. Only familiar with Webb on Stanley Clarkes' "Children of Forever". Anywhere else I should hear him?

I bet that first Rotary Connection album on the same label really drove you crazy!

Neither! It's a good album. First side especially.

Yep. It is. It is, but by a completely different name on this album.

Mr. Gould, the KB is not a Verve, but same general era.

So do Dub Modal and I. I also like it by Sade and by Steve Winwood, but this, the original is the one. Yep, that one.

Ellis and Harriott are correct. No Hadi on any of these cuts that I'm aware of. Which cut did you have in mind for him? Waldron as a sideman. Yes, Oliver, unmistakenly.

Here is the link to BFT 201. 13 selections, recorded between 1956 and 1996. Even my friend Dan Gould may like a couple of them. Just under 80 minutes. #12 is more a point of personal privilege, reflecting my mood (though I sadly know the answer to the question it asks), rather than something to stump or excite the crew, but it's only 3 minutes long. I would have normally put it last, but I don't think any song could bear the weight of following the last cut, #13. Looking forward to your thoughts on these! http://thomkeith.net/index.php/blindfold-tests/

I'm also not a Concord guy. To me, they generally tended to neuter their artists somehow, I think especially of Art Blakey compared to what he did on other labels, even in the same time period, but also people like Joanne Brackeen. The one LP I remember finding satisfying was the Harold Land/Blue Mitchell 'Mapenzi' LP, and truth be told, that was mainly due to one cut, Lightsey's "Habiba". I'm up for that.

He was on quite a roll at that point, classic album after classic album from the late 60's to the mid 70's.

I have Blue Autumn. I don't find it as satisfying as most of his other later quintet albums largely due to repertoire.

It's a tough neighborhood, not for the faint of heart. We all find that out soon enough. But that also makes it invigorating if you are wired for it.

I really like those Wolf and Muddy albums where Cosey lets loose. Some critics hate them but the point is they aren't blues albums per se.

Much love for the Land and for the Griffin Tokyo set, and nice to see some exposure for the Visitors album.

They did, the whole series is beautifully executed. My favorite is the Barbara Lewis set.

Just our household with a simplified menu. Just give me turkey, stuffing, gravy, then a nap in front of a football game, and I'm good. Still much for which to give thanks, even in 2020.

+1 on both observations.

I have the Ruppli Prestige book (and the 1988 version of the Blue Note book and the Verve Vol. 2 and the Savoy), and have the Japanese Riverside book. All worthwhile - I've spent many hours in the Blue Note over the past 25 years.

The Blythe is a landmark album. Love the Freeman and the Coleman. Someone needs to rescue the India Navigation catalog.