danasgoodstuff

I think I may have posted before about hearing Pepper at yet another Portland club, the Kingston, which still exists but which was only a jazz club briefly. My strongest impression was that local hero (the late husband of Nancy King and son of Saunders King) Sonny King ate him up and spit him out. But that comparison is perhaps a little unfair since they were playing bebop standards which wasn't really Pepper's thing. If they'd been playing peyote chants, presumably the tables would have turned.

Shrdlu, If you really think Lester's use of language is similar to Aric's you are insulting the former and unduly flattering the latter. Lester was much more articulate and inventive; the fact that they bopth used slang is trivial in itself... Not to make a tempest out of a teapot, you're certainly right to call attention to Lester's language as interesting.

I have no particular prob with v. short tunes per se. I can find it annoying if they seem ARTIFICIALLY short, but no more so than if the're ARTIFICAILLY long. In general a tune/performance/recording should last just exactly as long as it needs to in order to get the job done that particular time, no more no less.

Staying in Oregon this year, going to the inlaws on Xmas day. Used to take the train to Saskatoon back when I had more time than $ (now I have neither). The train takes forever, but if you fly you can go from +70F to -100F windchill in about a minute. It's like being smacked upside the head with a giant icycle! Now we drive there in the summer, which is good too, but it's not the same... Underground, What takes you to Newfie-land?

Happy Holidaze!

Oh, and how could I forget, B-3 bass pedals too--Larry Young and John Patton were better 'base' players with their feet (yes, I know it's left hand too) than most bass players are with their hands!

I agree with the 'it's the player, not the instrument' contingent here. I would go even farther (further?) to say that if I do have a preference here it's for bass as a role, i.e. to provide the 'base', and that I don't care if it's standup, fender, tuba or bass sax. In this sense Adrian Rollini was a great base player, as is the tuba/sousaphone(?) player in the Dirty Dozen, but that Jaco P. and Scotty LaFaro, while great at what they did, weren't base players at all... I hope this is clear and nonoffensive to all.

Lon, did you get that saxcello pic from cybersax.com? A great site (just watch the spelling!) and where I bought my Conn C-melody...

My Fav Mosaic? Why, it's always the next one I'm gonna get, of course!

I just wanted to add that, IMHO, "Shake" & "Ain't That Peculiar" on this fine albu show that R&B tunes can work on a jzz album, on hyphens or apologies needed...

I've recently managed to pick a couple of duplicate LPs 'cause I couldn't remember what I already owned (too many, obviously). Matbe we can trade... Have: Stanley T - In Memory Of (BN rainbow) Woody G - Dust Bowl Ballds (RCA 60's winerack reissue) Want: Stanley T - Dearly Beloved, Jack Wilson - Easterly Winds, Sam R - Contours, Big John P - Oh Baby!, Lou D - Mr. Shingaling, WHY?

This being AOTW caused be to listen to my Liberty-era pressing last night (I gotta get a better copy!). My first reaction was "what's not to like?" Eric and the usual suspects... but then I thought maybe what puts some people off this session (other than impossibly high expectations) is a 'neither fish nor fowl' syndrome--instead of being too out, it may be not out or in enough. Let me try again: When this was issued, a successful inside/out session probably seemed like quite the high wire act but to listeners comning to it for the first time now (I first heard it in the early '70s) it may seem like someone walking the wire when it's laying on the ground, i.e. no bitg deal. I love Out to Lunch but sometimes have an analogous reaction to soul jazz sessions that strike me as neither jazzy nor funky enuff, just kinda luke warm...y'all know what I'm saying? I agree with the posters above, the compositions are key; it's NOT a blowing session...if that's what you want Eric did lots of those for Prestige.

Thank you.

I run somewhat hot and cold on Mr. Shepp; Four For Trane, the first side of Fire Music, the title tune of Mama Too Tight (even if it sounds v. like JB's "Money Won't Change You" to my ears) and occassional other tune on Impulse are all hot, IMHO. I also v. much like the duets with Horace P. (Going Home and Touble In Mind) even though they are too meditative to be acurately described as "hot". But everything I've heard since then (20+ years) has shown evidence of severe embachure (sp?!) deteriation, odd since he does seem to work pretty steady nonetheless. And he always seemed to have an extramusical agenda, like he was more in love with the idea of being a sax player than interested in the work it took to actually be one. But when he was on, it really was the Fire (Music) This Time...

I haven't received my discs #4 yet either (I'm in Portland OR), perhaps I should talk to the Post Office or were they sent by another carrier?

I'm sure you didn't mean the empty Quote boxes as symbolism, but the're too perfect... Oh and I have listened to a little bit (as much as I could stand) at the listening station at Borders, some of Madlib's Bluenote thing too. Didn't do nothing for me.

It (Jim Hall Jazz Guitar 1st pressing) goes for that much because a really clean copy, in effect, is the master--it's the only way to get the unedited takes and the only way to get one tune at all.

I knew someone once who did them by record label and in catalog # order! But then I knew a guy once who carried around photo's of his record collection to show off like they were his kids...

As far as the 'collectability' of Pacific Jazz goes, a copy of PJ-1227 Jim Hall Jazz Guitar recently went for $308.96 on eBay (item #2577494553). Considering that it was a first pressing and only the edited 2nd pressing masters remain, I'm surprised it wasn't more. Unfortunately I can't afford to bid that high!

I would catagorize my music collection as really excellent, obviously compiled by a man of exquisite tatste if not wealth... Seriously, the LPs are all together, alphabetical by artist, chronilogical within artist, except where I split the studio and live (Charlie Parker may be the only one I do this way, Jazz @ Massey Hall is Live Parker on my shelves), and various artists after Z. The LPs are on a mix of home built and store bought wooden bookshelves around the perimeter of my music room (the former garage, refinished at great expense). Conversely, the CDs are broken into catagories and scattered around the room on various storage devices according to the available space; kinda the way we do things at the library... Jazz CDs are on the aforementioned bookshelves, pop/rock on one side of a spinner, R&B on the other side, blues on a wood rack on the wall, C&W in a wire rack standing on the floor, etc. Mosaics have a special space in the entertainment center housing my stereo equipment, as do unsorted 45s, James Brown CDs, and other odds and ends. As I run out of space I find myself inventing catagories like Things From Memphis (Stax & Hi) and Art Pepper CDs which get their own wood crates. I've got neat little drawers for K-7s but haven't finished putting them away. And, of course, lots of piles of stuff 'to listen to' sitting on the floor and on top of file cabinets, etc. And my wife calls it "a mess"!?!

Now I really will have to find and post my Hank Mobley poem, along with something by my brother Sam a far better writer than I. Maybe in a seperate thread.

OK, I got another Q related to the ones above. I have some CD labelling soft ware which I haven't loaded yet and am wondering if in the meantime I can write a little something right on the top side of the discs or if I should stick blank labels on 'em and write on that?

Besides, now that he's got two Living Dolls he's probably too busy, if you know what I mean...

I really like Brown Sugar and at least kinda like Am I Blue and think Joe adapts himself well to both situations, like a sideman oughta! In fact I may actually prefer his sideman work to his leader dates in this time period. The Real McCoy and Basra come immediately to mind in this connection. And I think I know what the Joe detractors in that other thread were talking 'bout and sorta agree up to a point, but I still concur with the point of this thread that Joe was remarkably consistant (even while being flexible for the sake of situation) in da '60s...

Thsi is a fine album, but I still think it's the least interesting of Tee-Nah's leader dates, largely because it's the most generically Blue Note. (If Alfred had chosen to spell Harold Floyd Brook's nickname phonetically, would it have helped his career?) Not that that's a bad thing, it's just that the other three show a more distinctive musical personality at work. This is good, v. good even, but the other three are GREAT!