EKE BBB

I don´t know if they´re obscure enough but I like them: -Gil Evans: The individualism of Gil Evans (Verve 63-64) -John Lewis: The wonderful world of jazz (Atlantic, 1960) -The blues and the abstract truth (Impulse, 1961)

Maybe some day I will buy.....I´m not among NJ bashers!

A few gems (IMO) featuring Fuller: Blue train Coltrane, John Blue note 1957 Sonny´s crib Clark, Sonny Blue note 1957 The amazing Bud Powell Vol.3 Bud! Powell, Bud Blue Note 1957 Strike up the band Jones, Quincy Verve 1961 (61-64) The best of the Blue Note years Henderson, Joe Blue note 1963 (63-85) Tom Cat Morgan, Lee Blue Note 1964

Hey, DEEP´s back at organissimo!!! Fun&fire guaranteed DUH! God Bless Jane IRA Bloom and IRAkere too!!!

Before 1950: On tenor, Hawk or Prez (can´t choose only one, and Ben Webster is near). If you change tenor for alto, Bird (Johnny Hodges is near too) On trumpet, Armstrong On piano, Tatum On drums, Sonny Greer On bass, Jimmie Blanton After 1950: On tenor, Coltrane (Rollins is my second option) On trumpet, Miles On piano, Monk or Evans On drums, Elvin Jones On bass, Mingus

Great Sonny! I like his sharp or even harsh tone, and his melodic capacity! My first choices would be: -Tenor madness / Saxophone Colossus (Prestige) -The Freelance years box-set (Riverside and Contemporary) -A night at the Village Vanguard / Newk´s time (Blue note) -SR meets Hawk! / The bridge (RCA) -Alfie (Impulse) and his work with Monk and Clifford Brown, too...

On the other hand....let´s talk about Charlie Parker Bird conceived every solo as a narrative thing, as he said: "Ever since I´ve heard music, I´ve always thought it should be very clean, very precise...as clean as possible, anyway...and more or less to the people, something they could understand, something that was beautiful....there´s definitely stories and stories and stories that can be told in the musical idiom...It can be very descriptive in all kinds of ways, you know, all walks of life" I´ve always been impressed by his technique and his speed and his creativeness in every solo he played! I´ve read his technique has the technical name of "cento" in musicology. Thomas Owens has identified over 100 of the different motifs that Bird most commonly used in creating his solos, and he put them together in a new and completely different way for every performance Some may say Bird was kind of mystified: his early death, his drug abuse, his chaotic character... But I think he was one of the greatest genius of 20th century music. Phil Woods said Bird "was the Beethoven of our time". I don´t know, Duke and Satchmo were there too!

...and talking about tenor boppers, Wardell Gray must be included here IMHO! He was very influenced by Bird (and by Prez), but he got his own phrasing and was one of greatest bebop innovators on tenor till his death in 1955

I would emphasize Coleman Hawkins as an influential musician. Do you remember the session with "Disorder at the border"?. Alyn Shipton adduces that though it was a recording released as Coleman Hawkins´, the real leader (and arranger) of the session was Dizzy. But Hawk was always there, with the young lions, and his advanced harmonic concepts DID FIT well with the new music!

Some may say they don´t like LaFaro because he played "too many notes". Actually, when Chuck Israels came into the trio, Bill Evans had more room to play, specially in ballads, as we all can hear in "Moonbeams" (Riverside, 1962) , the first trio recording with Israels. Notwithstanding, IMO LaFaro was a marvellous player who, in his short career, got a great development in the melodic possibilities of bass (as Jimmie Blanton did first)

Wonderful big band music. Herman may have had better (or more famous) musicians before (First and Second Herd) but this recording is REALLY OUTSTANDING, IMO! And very, very good sound!

Chuck Israels (1962-1965) Gary Peacock (1963) Teddy Kotick (1966) Eddie Gomez (1966-1977) Marc Johnson (1978-1980) ????

Thanks for the info, Claude

I also voted for the most obvious choice, Dizzy. In second place I´d take Fats Navarro or Miles.

I´m one of those who got burnt by Planetmusic breakdown. Anybody have jazzmesengers´ e-mail or URL???? Thanks in advance! BTW, I´m not sure, but I think Fresh Sound/Blue Moon is a different thing from Disconforme (Jazz Factory/Definitive Records). I don´t know where Planet Music/Jazzmessengers (damn it) comes in!

If I´m allowed to, I nominate Mnytime´s new avatar. Salvador Dalí has always been one of my favourite painters!

Yes. No problem hitting the "Forums", hitting specific threads or adding a reply.

No problem for me today, Brownie.

Johnny DODDS is the MAN!

Congratulations, Joe! :excited: Who will be the 100.000th? B)

-Good bait (Tadd Dameron/Count Basie) -Little Benny a.k.a. Crazeology (Charlie Parker) though I´ve seen it credited (as Crazeology) to Bud Powell -Lemon drop (George Wallington) -Swing spring (Miles Davis) -Steeplechase (Charlie Parker)

(Updated May, 3, 01.00 PM GMT+1 - Central Europe hour) Members: AAJ 1.017; JC 631; Organissimo 307 Total posts: JC 26.394; AAJ 23.753; Organissimo 19.629 Threads: AAJ 1.714; Organissimo 1.468; JC 1.064 Most users ever online: AAJ 78; JC 61; Organissimo 44 Each one is different. I prefer AAJ and Organissimo (though I don´t have time enough to post here as regularly as I´d want to). Members and moderators/administrators make these two nice, friendly and useful!

Who said all jazz songs were either "I got rhythm" or the blues? Let´s take the first one. Name songs (credited to songwriters different from Gershwin) based on "I got rhythm". I´ll start with a bunch: Cotton tail (Duke Ellington) Lester leaps in (Lester Young) Shag (Sidney Bechet) Moose the mooche (Charlie Parker)

18? See capital letters 3

Norman Granz´s Jazz at the Philharmonic was a way to gather some wonderful musicians of that era, a neverending all-stars jam session. They produced marvellous music (Hawk-Prez-Illinois Jacquet; Bird&Prez...). It was a musical, sociological, and cultural phenomenon whose most outstanding element, often, was audience participation. Nevertheless, the audience's contribution usually consisted not only of listening, but of whistling, yelling, stomping, and clapping time on the wrong beats. It was criticized, as well, of being some kind of slight disorganization and an all-out blowing. What do you think?