Cali

Was MINGUS IN WONDERLAND originally a Blue Note recording?

There's also Lonnie Smith's MOVE YOUR HAND, and LIVE AT CLUB MOZAMBIQUE.

I read somewhere that RVG said it was more difficult setting up for live recordings than in his own studio where he had more control.

Jimmy Smith made several live recordings for Blue Note: COOL BLUES, GROOVIN' AT SMALLS' PARADISE, 3 volumes of LIVE AT THE CLUB BABY GRAND. Additionally, Kenny Dorham's ROUND ABOUT MIDNIGHT AT THE CAFE BOHEMIA Donald Byrd/Doug Watkins - THE TRANSITION SESSIONS (2 albums) Donald Byrd AT THE HALF NOTE Grant Green - LIVE AT CLUB MOZAMBIQUE, and ALIVE! Eric Dolphy - ILLINOIS CONCERT Sonny Rollins - A NIGHT AT THE VILLAGE VANGUARD Kenny Burrell - ON VIEW AT THE FIVE SPOT Bobby Hutcherson - LIVE AT MONTREUX I'm sure there are others.

Loves me some Buster Williams!

A friend just emailed me that Sonny was sick. Does anyone know about this?

Great pick. I forget how long it is, but he really makes a beautiful transition from inside to outside playing on that. I remember playing that track for a few people at random back in the day, just somebody would be hanging out, not "jazz people" or anything, just folks, and not everybody would dig it. But some of the ones that did would get up and start hollering and screaming the deeper into it that Trane & Elvin got, I mean, involuntary reactions and shit, like in church or something. My first reaction was not quite so outwardly demonstrative, but yeah, I was gripped, to put it mildly. Still am. Ultimately, that's the kind of music I like best, the kind where "liking" it or not is not an option you have. It just takes you over. BAM. Figure it out later, if ever. Hell yeah. When I read your post I was reminded of catching Coltrane's quartet at Shelly's Manne-Hole in L.A. around 1965. People got so lost in the music that they were emitting primal screams and shouts. Those small cocktail tables were being knocked over, glasses were breaking, it was pandemonium. It was like a vortex in the room. I have never experienced anything like that, before or since. When I walked out after the set, a buddy of mine was waiting in line to go in for the next set. He asked me, "what the hell was going on in there?" I could only say, "you'll find out". Amazing. And from a 'West Coast' crowd too I don't think we'll see music of the mind and the heart like that anymore. What an experience to have heard that music in it's own time, unfolding before you! Great story, Cali. freelancer, as long as Cecil is with us, there's always the chance it can still happen. Thanks. I feel very privileged to have witnessed that. It's the closest I've ever felt to a religious experience.

Back on topic, although most of these have been mentioned by others, here are some of my favorites: Keith Jarrett - God Bless The Child, from Standards, Vol. 1 Jimmy Smith - The Sermon Dex - Tanya, from One Flight Up Pharoah Sanders - The Creator Has A Master Plan, from Kharma Let Us Go Into The House Of The Lord, from Deaf Dumb Blind Upper Egypt and Lower Egypt, from Tauhid Lee Morgan - Search For The New Land Miles - In A Silent Way I must break the "live" rule for these: Eric Dolphy - Aggression, At The Five Spot, Vol. 2 Jimmy Smith - Night In Tunisia, Cool Blues John Handy - Spanish Lady, Monterey Jazz Festival Charles Lloyd - Forest Flower, Monterey Jazz Festival John Coltrane - Impressions, Impressions My Favorite Things, Coltrane At Newport '63

Great pick. I forget how long it is, but he really makes a beautiful transition from inside to outside playing on that. I remember playing that track for a few people at random back in the day, just somebody would be hanging out, not "jazz people" or anything, just folks, and not everybody would dig it. But some of the ones that did would get up and start hollering and screaming the deeper into it that Trane & Elvin got, I mean, involuntary reactions and shit, like in church or something. My first reaction was not quite so outwardly demonstrative, but yeah, I was gripped, to put it mildly. Still am. Ultimately, that's the kind of music I like best, the kind where "liking" it or not is not an option you have. It just takes you over. BAM. Figure it out later, if ever. Hell yeah. When I read your post I was reminded of catching Coltrane's quartet at Shelly's Manne-Hole in L.A. around 1965. People got so lost in the music that they were emitting primal screams and shouts. Those small cocktail tables were being knocked over, glasses were breaking, it was pandemonium. It was like a vortex in the room. I have never experienced anything like that, before or since. When I walked out after the set, a buddy of mine was waiting in line to go in for the next set. He asked me, "what the hell was going on in there?" I could only say, "you'll find out".

Me too! I really love Sonny Red's solo on this one.

RIP Emanuel. You were a beautiful spirit in a sometimes ugly profession. There will never be another like you. Thank you.

I believe that cover photo is from "UGETSU" and is the group without Lee and Bobby.

Happy birthday, Trane. Always in my heart. BTW it's also Ray Charles birthday. 2 musical geniuses on the same day, whew!

Willie Bobo's Verve recordings I play the most are the aforementioned SPANISH GREASE/ UNO DOS TRES and BOBO MOTION. You can read a review of BOBO MOTION on All Music.com and also listen to some samples.

Al McKibbon was the key to these Shearing groups. Shearing learned latin jazz from McKibbon. Al had played in the Dizzy Gillespie big band that featured the first great Cuban conguero, Chano Pozo. Al became Chano's best friend up until Chano was killed in New York. McKibbon brought Armando Peraza into Shearings band. Subsequently, Cal Tjader joined Shearings group so that he could, as he said, study Afro-Cuban music with Al McKibbon. Al McKibbon was the link. He had the most thorough understanding of Afro-Cuban rhythms in a jazz context. The year before he passed away in 2005 (he was 86), Al traveled to Cuba where he was honored and given a parade in Havana. Excerpted from Wikipedia, "He also wrote the Afterword to Raul Fernandez' book, Latin Jazz, part of the Smithsonian Institution's series of exhibitions on jazz."

At first I misread this topic and immediately thought of all the Abbey Lincoln covers and her fondness for hats. Man, could that lady wear a hat!

Ah, thank you! Last night I let out a stream of obscenities last night that amounted to "still with the gymnastics?" mostly because it meant more amped up routines that they can't even practice much lest a neck get broken. And they need to give these girls anti-helium before they talk. I feel the same way about all of the swimming and water sports at the expense of track and field. I've seen every heat and every form of swimming for almost 2 weeks now. Yet, some heats in the hurdles and sprints of track are not shown. And the field events, forget about it. Probably less than fifteen minutes, all total for men and women, have been devoted to field events. I thought T & F was the premier event of the olympics. It certainly draws the largest attendance.

It is unfair but what's fair about other countries' pros beating up on our amateurs? Nobody crying about that..

WOW!

The earliest MADs were of the pulp comic variety and were entirely in color. What I remember the most about those early editions is each frame was chock full of illustrations, with little unexpected gags and details that would keep you occupied for hours.

You probably know that the early MAD magazines were all color.

As a long ago Nancy fan who lived through a teenage crush on her, I highly recommend these three beauties: Broadway My Way Yesterdays Love Songs Todays Blues Hello Young Lovers HYL has never been released on CD. It makes one wonder what the hell is going on at Capitol. Many think this is her best album. P.S. These were before the more mannered approach in her style. And I didn't mean to exclude the excellent album she did with Cannonball.

I'm still waiting for a re-issue of LOOKIN' AHEAD. According to the review from AllMusic it's one of their best: "The Jazz Crusaders' second recording is most notable for the introduction of Wayne Henderson's "The Young Rabbits," the best-known of the seven group originals which are performed on this LP along with "Song of India" and Leonard Bernstein's "Tonight." The tenor-trombone frontline created by Wilton Felder and Henderson, along with the funky yet swinging playing of pianist Joe Sample, drummer Stix Hooper and bassist Jimmy Bond on this hard-to-find set made the group instantly recognizable and surprisingly popular from the start." It's a big mystery to me why this has never been on CD. It's always been my favorite Jazz Crusaders recording.

Also, if anyone finds this re-issue of EXPRESSION has the "Number One" bonus track please let us know. That one track would be my motivation to buy this re-issue.

I can't speak for the packaging but I'm very excited about these reissues, some I've never seen on cd. Amazon.com says they are remastered recordings on the Verve Select label. Some of the titles: SUNSHIP LIVE AT THE VILLAGE VANGUARD AGAIN EXPRESSION COSMIC MUSIC INFINITY OM CONCERT IN JAPAN TRANSITION (which still seems to have "WELCOME" listed as "DEAR LORD") COSMIC MUSIC is about 24 minutes longer than the old release and Expression appears to be missing the bonus cut "NUMBER ONE". Needless to say, some of this is confusing.