danasgoodstuff

In the Key of the Universe and The Trane Trib with McLaughlin work for me.

Crying shame.

Thanks for the reminder, I have the 11 sides he, Jess Stacy and Geo. Wettling cut for Commodore in '38. Good stuff. And the 4 sides Pee Wee Russell, Joe Sullivan and Zutty singleton did for Commodore are IMHO even better.

Here 'Tis may be the greasiest Lou ever made, but nowhere near the artery clogging grease fest that Grant, Baby Face, and Ben Dixon made with Fred Jackson on Baby Face's Face to Face. There's always something a little bit prissy about Lou, even at his greasiest. (92) Brown Sugar - Freddie Roach - YouTube Joe Hen at his greasiest with Freddie Roach, just one of many reasons I prefer Joe as a sideman.

I love BN as much as the next guy, maybe more. But it does get a little weird over there. BN is NOT the whole story of jazz, even if it's my favorite chapter. And there is crap on the label (I'm not totally convinced that the Mizell brothers' stuff is even music made by earthlings). On the other hand, I love seeing something like Don Wilkerson's Preach Brother getting a bunch of love over there.

It puts demands on the piano player to use their left (bass) hand in ways that they may not be used to or particularly comfortable with as opposed to players of older styles like stride or boogie woogie who put down strong steady lines, modernists may find it challenging to hold down the fort with their left hands without falling into one of those older styles.

(91) The Wind Cries Mary - YouTube 3 pianos playing Hendrix

I have the Blue John with bonuses, it's good but unfortunately nowhere near as greasy as the originally issued tracks. IIRC, there's still 2 unissued from those 2 sessions. Maybe if it was a 2 LP Tone Poet they could squeeze 'em in and I could buy this for the 3rd time.

The latter. Cite me sum, I find very little.

Earl & I don't always get on, but this version of Birdland is delightful!

Thank you all, I'd knew you'd come up with some interesting stuff and you didn't disappoint. Not hardly.

I've been thinking about unusual trios lately. More specifically about sax/piano/drums lineups like the Lester/Nat/Buddy trio. I know that there was the David Murray/Geri Allen/Terri Lyne Carrington trio. But I swear I saw a video of another one on YouTube when I was looking for something else and when I went back to find it I couldn't. any other examples of unusual instrumentated trios are welcome too.

Certainly, very good work was still being done. Including but not limited to all you mentioned. Ironically, it was the quality of the groovy side of things that fell off. and even there good things were done. But less consistent, and less distinctive vis a vis other labels. Both BN and Prestige made groove dates with Leo/Idris. Son of Sidewinder was pretty much a Blue Note thing. And there was less of playing on others' dates and graduating from sideman to leader. As far as I'm concerned, Higgins doing no BN dates after '68 was a huge loss.

Or insufficient?

My personal 5 BNs: Hank Mobley, Slice of the Top Don Wilkerson, Preach Brother John Patton, Blue John Gachan Moncur, Evolution Bobby Hutcherson, Dialog But for newbies: Blue 'Trane Something Else Sidewinder Song For My Father Alligator Boogaloo and that still leaves out anything early, and anything post-revival, any Wayne Shorter, etc. No live and not much organ. This is hard.

Good lists, both the 5 & the 40. Just a little disappointed that there's no pre-bop or cool school on it, although not much is easily available right now.

Not yet, I tend to watch the CFL only when I'm in Canada or just happen to catch it, i.e. not very often. but that's still more than I watch the NFL which I find dreadfully boring even though I understand the game well enough to get that the level of play is higher.

That would be the CFL in a nutshell. Since I don't take football seriously but just like to watch a little to pass the time every once in a while, that's perfect for me.

Gil Melle got his own 78rpm single recorded and played on the radio before he walked into Blue Note when he was still a teenager. That probably impressed Alfred & Francis. And he did album covers for them. And he wrote a bunch of film and TV scores later, so he probably did make good money from that. And he plays fine.

Meh, give me anything H-D-H did at Motown over this.

A well-done box set, not perfect but you could live with just this. Nicely balances representative career overview and obscurities for the fans.

Could be good, Broom can certainly play some.

So the original piano solo from Blue Train take 9 that was pasted over with the solo from take 8 remains unissued?

His playing here sounds fine to me, and I know weak sax tone, I hear it every time I put my horn in my mouth.

Roach, Blakey, Silver, Miles - all fine incubator of talent. Don't have to choose, I can enjoy them all. And do. What labels they were on affected both their opportunities to record and later reputations as some have had much stronger reissue programs than others. If I had to choose, I'd say Blakey in terms of feel at least until he went deaf and totally overplayed.