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Three times six is the number of the beast For Iron Maiden or death metal fans! 18

THREE times six is the number of the beast! For Iron Maiden or death metal fans! 3

I saw them last october in Madrid: Roy Haynes, Dave Kikoski, Christian McBride and Antonio Hart (in substitution of Kenny Garrett due to hand injury). No Nicholas Payton. That was great! Antonio Hart was so inspired playing bebop, Kikoski showed why he´s one of the most underated pianists, McBride was brilliant, as usual, and Haynes was, well, was HAYNES. It´s worth paying whatever they ask!

Really bizarre!

As a sideman: Of course, Point of departure And The sidewinder or The rumproller (Lee Morgan); Idle moments (Grant Green); Song for my father (Horace Silver); The real McCoy (McCoy Tyner); The prisoner (Herbie Hancock) and more and more. He was a helluva of a player! Another CD I like is Roy Hargrove´s With the tenors of our time (Verve, 1994) featuring Joe Henderson, Johnny Griffin, Joshua Redman, Stanley Turrentine and Brandford Marsalis

Cyrus St. Clair He played tuba in the early days...

This one is essential, IMHO: AMG REVIEW And another couple I consider among my favorites (besides Inner urge and Page one, of course): AMG REVIEW AMG REVIEW

I will order it soon!

I posted this at AAJ, but I got NO REPLIES Dizzy&Bird: the birth of BEBOP Since we´re celebrating the 50th anniversary of the Massey Hall concert, we could go back in the history of BOP, and start a discussion on the contribution of Dizzy Gillespie and Charlie Parker to the origins, birth, development and extension of be-bop. Which of them do you think was the principal architect of defining small group bebop and why? As you can see with these quotes, there are opposite points of view: "Dizzy was verbal, witty, extroverted, sunny of disposition - everything Charlie was not. Dizzy was accesible to everyone. You did not elevate such man to a hierarchy. Blowing musicians, who where in the position to know, all agree that Parker was the fountainhead of the new music. The flow of musical ideas suggested mysterious, primal forces" Ross Russell, "Bird lives!" " ... but his talent (Bird´s) was mainly to do with spur-of-the-moment instant creativity, albeit drawing upon some of the most sophisticated harmonic ideas to have been absorbed by any improvising musician up until that time. His partnership with Gillespie benefited not just from the trumpeter´s ability to match many aspects of Parker´s virtuoso playing, but also from the knack of placing that playing in a suitable framework or context. My perception of Gillespie is that he had an altogether more wide-ranging musical curiosity about the way such a context might be developed, and this led him to experiment with numerous possibilities for expanding and extending bebop -from moving forward the big-band ideas he had begun with Eckstine to experimenting wiht Afro-Cuban rhtyhms, and from further exploring the dissonant harmonies he had worked out with Monk and Dameron to creating even more experimental charts with Gil Fuller, eventually leading to his early modal experiments with George Russell. Gillespie was often to define bebop not so much as a revolution but an evolution and in later life, when he had become a grand patriarchal figure in jazz, he could justifiably point to his own seminal role not just in one, but in several areas where jazz had evolved into a richer, more wide-ranging music, in the wake of his small group playing with Parker. By contrast, Parker´s contribution was less widely spread, limited both by his short life and the way in which he chose to live it. Neverthless, the profound influence of his solo playing on generations of saxophonists, including the main revolutionary figures who followed him, such as Coltrane and Ornette, should not be understimated" Alyn Shipton "A new history of jazz" "Unmatched among modernists as a blues player, Parker brought a human cry to bebop´s experimentalism - ultimately as crucial an element to the music´s acceptance as Gillespie´s showmanship Francis Davis, "Dizzy atmosphere", NY Time Book review What do you think?

"It´s been a long time since there´s rock´n´roll...." "...and she´s buying a stairway to heaven" IV for me!

"It´s been a long time since there´s rock´n´roll...." "...and she´s buying a stairway to heaven" IV for me!

Simply the initials of one of my favorite musicians (Edward Kennedy Ellington) and one of my favorite suites (Black Brown and Beige) Not too arcane, really!

I love this date! And I love Duke meets Hawkins And Duke meets Coltrane!!!

Jim has said it all and said it right, as usual! I have to take Tatum in a little dose, too. But after many listenings you discover a wonderful world, not only of technique, but of MUSIC (with capital letters) The Pablo solo and group sets, the 20th century piano genius, the Capitol sessions.... I must explore his earlier works. Any recommendations?

Definitively: buy ALL THE CLASSICS from this period. It is worth! Some forgettable vocals , some hi-de-ho scattings B) .... but WONDERFUL MUSICIANS ... with little room to solo ...though this room increased as the years passed

I bought the two CD set years ago. I´ve been a bit reluctant to this set for a long time. Maybe it was Ella´s pop approach in some themes (Goin´ out of my head and others) maybe it was Cat Anderson´s high notes that caught my nerves. But recently I´ve become a very huge fan of it (it´s always in my car stereo at the highest volume) and enjoy gems like Things ain´t what they used to be, Lullaby of Birdland...and little heard gems like Trombonio-bustoso-issimo or The old circus train turn-around blues And I´m considering to buy the complete set.....if I ever find it at a reasonable price

Lee Morgan - The rumproller It was my first exposure, years ago, to LEE MORGAN. I still spin it frequently

Kenny Burrell - Blue lights

My favorites from the list are clearly Monk and Powell, but if we´re talking about "Blue Note sound" we should mention Horace Silver, Sonny Clark or Herbie Hancock. I voted for Sonny Clark!!!

I like specially Mel Tormé´s version on "Swinging on the moon" (Verve, 1960)

A few favourites of mine: Christie, June Something cool: the complete mono & stereo versions Clark, Sonny Sonny Clark Trio Coltrane, John Live in the Village Vanguard. The master takes Dolphy, Eric The Illinois concert Lincoln, Abbey Abbey is blue Pass, Joe Finally Rollins, Sonny A night at the Village Vanguard Carter, Ron Where? Kelly, Wynton Kelly blue

-Bix Restored Box-set 3 CD1-3 -Thelonius Monk with Art Blakey and the Jazz Messengers

Another two trumpet players with merits to be there: -Arthur Whetsel -Bunk Johnson

Of course, Bill Evans This would be my top-ten list, in no special order: Evans, Bill Hines, Earl "Fatha" Jarrett, Keith Lewis, John Monk, Thelonius Peterson, Oscar Powell, Bud Tatum, Art Taylor, Cecil Waller, Fats

Definitively, Kenny Burrell (Grant Green leads the poll: BNers rule!)