EKE BBB

Wasn´t Lester Young who said "to play a song you should know the lyrics"? BTW: I like vocalese

Every recording by Sonny Rollins pianoless trio

If I had to pick just one.... BODY AND SOUL (1939) - COLEMAN HAWKINS

A few weeks ago I picked a CD called "Music for Ebbe" (dedicated to Ebbe Traberg and released by Producciones El Delirio), recorded live at San Sebastián Jazz Festival 1997, featuring Spanish saxophonist and flutist Jorge Pardo, altoist Gary Bartz, Jeanne Lee and the Repertory Quartet. It´s a great one, with Lee making wonderful renditions of Swing low sweet chariot and Blue Monk.

Hard to choose! I voted for "Good bait", but could have voted for any other... or "Dameronia" or "Flossie blue" or "Jahbero" or "The squirrel" or "The chase" or...

A bunch of Herbie´s 60s recording as a sideman (apart from Miles´) where you can pick many, many good themes: -Hub-tones (Hubbard, Freddie) Blue note 1962 -No room for squares (Mobley, Hank) Blue Note 1963 -The Illinois concert (Dolphy, Eric) Blue Note 1963 -Some other stuff (Moncur III, Gracham) Blue Note 1964 -Speak no evil (Shorter, Wayne) Blue note 1964 -Up with Donald Byrd (Byrd, Donald) Verve 1964 -The complete Blue Note sessions vol.1 (Rivers, Sam) Blue Note 1964 (64-67) -Adam´s apple (Shorter, Wayne) Blue note 1966

Another "thumbs up" to this record. My favorite Lovano disc (alongside "From the soul") maybe because I´m a big fan of Dameron´s compositions as well.

DUKE Could it be a statistical matter? He´s the musician with the greatest deal of CDs in my shelves (about 70), and sometimes mine is a random listening! (hey, ELLINGTON, not PEARSON or JORDAN)

Sorry, one day late! FELIZ CUMPLEAÑOS, LON! You´ve made my wallet grow veeeeeeeeeeery thin with all your knowledge. Thanks for it!

I remember Clifford!

Another vote for "After hours" with Mal Waldron. Wonderful! ... and everything she did with Ran Blake!

Bluuuuuuuuuuuuuuuuuue train!

HAWK. And very close to him, PREZ and TRANE.

Thanks for your recommendations! I´ll put three or four of them in my must-have list!

Wonderful music! I don´t know (as I´m not an expert in oriental music) if this suite only takes this kind of music in a "tourist point of view" (paraphrasing the first title in this record), but I enjoy every spin I give to it. Nowadays I have it on my car stereo, so it´s my first listening of the day when I get to work! It´s one of my favorite late suites from DUKE (alongside Latin American suite and others). Tunes are excellent, the exotic sounds of the orchestra, marvellous solos from Hodges and Gonsalves, and then there´s the trombones section and...Harry Carney (I love his powerful sound) Favorite themes? All of them!

Any fans of him out there? Could you recommend me where to start? Thanks in advance

I´m a big fan of hers. She uses her voice as an instrument, scatting inventively. No wide register, but she holds every note as if it was the last moment in her life. Her new release (HighNote 7096-2), again with the Steve Kuhn trio, features Tom Harrell on four of the thirteen selections. Anybody has listened to it?

Chuck: Are you sure Disconforme (Jazz Factory & Definitive Records) is the same thing that Fresh Sound? And Ocium? I know this was discussed in another thread, but I can´t find it! (and I don´t know if we all reached an agreement)

For a bit more cash, you can pick the two box-sets "The complete LY small group recordings 1936-1951" (Blue Moon), 4 cd and about 25€ each. They include all the small group studio recordings (with alternates) except those with Billie Holiday. It´s cheap, the booklet is slender but useful and the sound is passable. With volume 1 you get all the master takes from 1936 to 1949.

He´s in my top 20. I like some of his recordings ("Point of departure" is in my top 20 "post-bop recordings") but -like soul stream- don´t understand all his music and his harmonic developments.

I think it was Joachim Berendt in his "The book of jazz: From New Orleans to Jazz Rock and beyond" who mentions Twardzik was very influenced by Lennie Tristano, though Dick was a bop-based pianist.

Here´s an interesting piece of information: Lady with a Horn The Osgood File (CBS Radio Network): 11/29/02 75-year old jazz pioneer Clora Bryant still forges the path for women jazz players. One of the last living musicians of the Be-Bop jazz era is a 75-year old woman who mentors the next generation of jazz players. Clora Bryant toured with Billie Holiday, and she is the only woman trumpet player who ever recorded with Dizzy Gillespie and played with Charlie Parker. Though she was honored last May at the Kennedy Center in Washington, D.C., Bryant has never become well known to the general public. Despite a heart attack and quadruple bypass surgery in 1996 that left her unable to play her trumpet, Bryant continues to exert her influence on the world of jazz. She still sings and lectures on jazz history at several Los Angeles-area colleges. She also mentors several young female jazz musicians, encouraging, inspiring and teaching them. Bryant says the younger generation needs to learn from older players, as she did from greats like Duke Ellington, Count Basie, and Louis Armstrong. "When I grew up there were legends everywhere, and now the legends don't make themselves available to young people anymore…these days people just get in their limos and away they go, and it hurts my heart." Bryant's love affair with the trumpet started when she was a high school junior in 1941 in Denison, Texas. After her brother was drafted into the army, Clora Bryant picked up the trumpet he left behind and started playing day and night. Since then, her 59-year career has been full of firsts. In the 1940s, most women in jazz either sang or played piano and avoided the male-dominated horn section. Bryant was the first woman to play with Charlie Parker. She recorded with Dizzy Gillespie and played with other greats like Louis Armstrong, Carl Perkins, Dexter Gordon and others. Later, in 1989, Bryant was the first woman to travel to the Soviet Union to perform jazz, on the invitation of Mikhail Gorbachev. Part of Bryant's ability to break through gender barriers came from the strength she got from her father, whom she calls her "knight in shining armor." She clearly remembers, as a little girl, her father telling her that she could do anything she set her mind to, and that he was behind her all the way. Bryant does the same for other young ladies searching for their own place in the mostly male world of jazz. Bryant says it's essential for experienced musicians to foster the creative growth of young artists, technique and history and offering encouragement. She says she feels sorry for young musicians these days, because they don't have the access to jazz legends like she once had with her mentor Dizzy Gillespie, or the one-on-one friendship she had with Duke Ellington, Count Basie and Louis Armstrong. She says its still especially important to mentor women players, teaching them not just technical skills but also how to survive as a woman in a field that has vastly improved since she started out but is still dominated by men. She says women jazz players need to excel technically and musically in order to be taken as seriously as their male counterparts. And as her father used to tell her, Bryant still teaches her female protégées, "If you want to be respected, you have to act like a lady. And to me that is what it's all about, being a lady." CONTACTS Clora Bryant C/O The Durfee Foundation 1453 Third Street, Suite 312 Santa Monica, CA 90401 Phone: (310) 899-5120 Fax: (310) 899-5121

The four singing Smith Clara Smith Mamie Smith Trixie Smith Bessie Smith

Bertha "Chippie" Hill Alberta Hunter Virginia Liston