Cali

  From Joe Cocker's biography: Born on May 20, 1944, in Sheffield, England, singer Joe Cocker counted Ray Charles and Lonnie Donegan among his early influences. And this from Wikipedia, In 1961, under the stage name Vance Arnold, Cocker continued his career with a new group, Vance Arnold and the Avengers.[8] The name was a combination of Vince Everett, Elvis Presley's character in Jailhouse Rock (which Cocker misheard as Vance); and country singer Eddy Arnold.[9]The group mostly played in the pubs of Sheffield,[8] performing covers of Chuck Berry& Ray Charles songs. Impossible for me to listen to Joe Cocker and not hear some Ray Charles, and I really dug Joe.

Caught him several times in Pharoah Sanders' group. I always dug him.

Don't forget Lee-Way with Jackie's slashing solo on These Are Soulful Days! And "Cornbread." That one too.

Don't forget Lee-Way with Jackie's slashing solo on These Are Soulful Days!

One of Miles' best and "Teo" is on of his best performances on record. When the album was released it was tremendously popular on L.A. jazz radio. Even today, every first sime listener I've observed has a stunned reaction to Coltrane's solo on "Teo". It still has that "WOW" factor.

A few years ago I watched a PBS special on salsa and latin music in America. Bill Graham was interviewed in this film and his story was told of how he was a big latin and latin-jazz fan when he lived in New York. He regularly went to the Palladium Ballroom and became such a good dancer that he won a series of big latin dance contests at the Palladium. With his winnings he moved to San Francisco and bought what we now know as the Fillmore Auditorium. Originally, he wanted to make the Fillmore the west coast version of the N.Y. Palladium because of his love of latin music. Now here is when it gets heavy. There was a struggling young blues guitarist named Carlos Santana that used to play at the Fillmore and Graham convinced him to try playing latin music. This was around 1967-68. Carlos put together a band that had elements of blues, jazz, R & B, afro-cuban, and rock. That band played Woodstock in 1969 and broke down all the conventions of rock as it was known then and became an overnight sensation. If you haven't seen the film try to get your hands on a copy and dig their electrifying performance of "Soul Sacrifice". There should be no explanation required after that. <script src="safari-extension://com.ebay.safari.myebaymanager-QYHMMGCMJR/6eae17c4/background/helpers/prefilterHelper.js" type="text/javascript"> </script>

I know all lists are subjective...BUT how could Joe Henderson make the list but not his solo on IDLE MOMENTS from Grant Green's IDLE MOMENTS? I doubt if he had 75 solos better than that.

There's a version on Lee Morgan's THE RUMPROLLER.

Oops! When I read "Tenderly, a capella" I thought it was dedicated to Eric Dolphy's classic recording of Tenderly. Sorry.

Do the 2 Impulse! albums fit into this discussion? I like them both.

That's exactly my experience. They're one of the best on amazon marketplace IMHO. I'm always pleased when I see they have the best price. Never any problems with ordering or delivery. Me too.

Favorite albums DETROIT and EASTERN SOUNDS.

That would be very, very weird! These Universal Italy sets do nothing but repackage OJCCDs to my best knowledge. Guess it's just a mistake on discog's end. The scan from amazon suggests so, too: Can't find any official tracklist though (checked www.universalmusic.it/jazz/ and www.jazzecho.de, the official website of Universal Germany, which lists some of these Italian boxes, but not the Coltrane set). This is the track list of "Traneing In" from the 12 CD box set from xybert's post: Discogs http://www.discogs.c...release/4739522 According to ALLMUSIC.com, THIS is the version of Traneing In included in this box set. http://www.allmusic.com/album/traneing-in-mw0001592710

I know I held back on this material for many years because the word was 1) Coltrane here was early and unformed, "not really Coltrane"; 2) the material was too traditional and boring compared to the later, more revolutionary Coltrane; and 3) the only "true" Coltrane was found in his Impulse explorations (though everyone also loved The Gentle Side of JC). Obviously, actually hearing the Prestige material shows otherwise. Yeah, similar points to what mjzee is saying for me. I've definitely enjoyed Coltrane's music in the past but i never went crazy for him or other Tenor Sax Heroes like i did Monk, Mingus, Ellington etc and when it comes to sax i tend to gravitate towards alto players for whatever reason. I think only getting in to This Music in the last 8 years or so, it's arguable that Coltrane's impact on my ears was lessened by all the players who he's directly influenced, whereas by comparison to this day there is NO ONE that sounds like Monk, for example (and you can site Herbie Nichols, Andrew Hill, Don Pullen or whoever else until the cows come home but they all have their own thing to my ears, which is great!). I know that it's arguable that no one sounds quite like Coltrane, but he really is the sound of modern tenor sax; it's all pervasive. Anyway, that's my half baked, ass pulled reasoning; all bullshit aside although enjoyable i just never found Coltrane exciting in the same way as Monk, Ornette, Threadgill and on and on... So, i've enjoyed Coltrane but haven't gone crazy for him and therefore never felt a huge need to get in to the Prestige stuff, which i definitely perceived as being inessential. This thread has changed my mind. I don't have it anymore but i used to really enjoy the Burrell/Coltrane album. I probably don't need all the Prestige stuff at this stage, but as i literally have none of it in my collection, there'll be no double ups for me and it makes economic sense to get the boxed sets (if i just wanted to get 4 leader dates they would pretty much costs the same as a box set = may as well get the box set). I should have really checked here first whether it was a good idea rather than getting Fearless Leader but i went ahead and ordered this: Amazon UK http://www.amazon.co.uk/His-Prestige-Albums-John-Coltrane/dp/B004XPM3LC/ref=sr_1_1?ie=UTF8&qid=1387690484&sr=8-1&keywords=coltrane+prestige+box Discogs http://www.discogs.com/John-Coltrane-His-Prestige-Albums/release/4739522 12 albums, just the leader dates, no bonus tracks, 12 CDs in 3 CD double jewel cases. It doesn't really make much difference but i like that each album is on it's own CD. I am really looking forward to chilling with this over the holiday season. Should keep me going for a while, and if i feel the need i'll follow it up with the Side Steps and Interplay boxes. Edit to fix picture. The "Traneing In" disc from this set is not the original Prestige album. The track listing on this version is actually a composite from Trane's Blue Note, Atlantic, Impulse and Prestige recordings and omits several of the original tracks. This is confirmed by the dates on this disc (1961-63). By 1961 Coltrane was long gone from Prestige. The track listing from the original "Traneing In" is: 1. Traneing In 2. Slow Dance 3. Bass Blues 4. You Leave Me Breathless 5. Soft Lights and Sweet Music

In America, we used to call these "jump suits".

David "Fathead" Newman - Chillin'

I remember when this song was released. It was a sensational new sound in R & B. I still remember the style, all of the lyrics and the delivery of Barrett Strong's version. There was never a doubt about the authorship of the song at that time. Vaguely, I recall someone telling me that musical compositions must be re-filed every 7 years to retain the rights of a song. If true, this should be a crime.

Two good ones that feature George Coleman: Wailin' features Hubert Laws, Lee Morgan, George Coleman, Idris Muhammad and Buster Williams. Rakin' And Scrapin' is only available on vinyl. Personnel includes Blue Mitchell, George Coleman, Bill Lee and Hugh Walker.

Poncho Sanchez tomorrow night, The Cookers Sunday night.

True. I disagree with the review, I like these recordings. I reprinted the quote from Amazon in response to your question about the circumstances behind the recordings.

Amazon.com had this to say about CARIBE: "The session that yielded "Caribe" was the brainchild of Prestige label owner Bob Weinstock. History has shown it was more like a brain-lapse! "Caribe" is uninspired, derivative, mainstream jazz meets watered-down, light and fluffy bossa nova." The other Latin Jazz Quintet album is under the leadership of Felipe Diaz and features Eric Dolphy. It's on the Palladium Records label out of Barcelona, Spain. To my ears, it's a more successful outing than CARIBE. Dolphy's mother and father were from Panama so perhaps Eric was tapping into his Central American roots on these recordings. Also, latin and latin jazz music was/is very popular in Los Angeles where Eric grew up.

I love the album.

No. The opposite is probably true, this is a minority opinion. Hmm... there's the great Bohemia recording of the original Messengers, there's Birdland with Brownie - at least those are staples. Then I'm very fond of the hippsippy chicken 'n dumplins double set with a returning Mobley, there's the other Birdland double set w/Shorter, which by comparison both to that band's studio sets and the other live sets I never really warmed to that much ... then there's Three Blind Mice (United Artists, right?), and next the fine Limelight one with Frank Mitchell, and by 1968 another label caught the band with Billy Harper ... plenty to choose from, really. But no desert island material except for the first two. My essential Blakey would be a mix of studio and live - first I'd pick the Bohemia material, next Free for All ... and that band, at that point in time, would be my big wish for a live recording to turn up. Although not on Blue Note, UGETSU is a live recording of this band, recorded 8 months before FREE FOR ALL.

Thanks.