Chas

I wonder if our reaction to the player-less saxophone is akin to the reactions of those hearing a pianola for the first time . As a reproducer of human musical performance the pianola was imperfect . The reproducing piano that followed was an attempt to better capture the nuances of human piano musical performance . From our vantage point the next step seems inevitable : the production of transhuman piano musical performance , such as found in the work of Nancarrow . The mechanical recreation of human woodwind musical performance would seem , not just more difficult than the recreation of human piano musical performance , but utterly pointless ( i.e. , no more than a technical or engineering exercise ) . Player-less saxophony awaits its Nancarrow . Unlike Allen , I don't find the 'objectivity' of the robotic Giant Steps appealing , though I do agree that it reveals an important aspect of that solo's essence , or rather , two important aspects . It reveals the dextrous technical mastery of Coltrane , and more importantly , how much of the solo's appeal is rooted in embouchure and breath control , those subtleties of subjectivity and personal expression which are not captured by the transcription .

Of the obscure pianists mentioned , I only have the Moer on Del-Fi . The Burton on Joday is available on CD if you just want the music ( and I know you don't ) . I don't think the Will Davis has been on CD . Here's what it looks like :

The only reason I would want to hear this album is to hear the debut recording of Early Minor . The perfect marriage of content and form : Nat's varitone cornet playing By the Time I Get to Phoenix on this :

I have the 2-CD set and don't have anything to compare it with , but I've always thought that the sound was pretty mediocre , especially given the sonic excellence of other Impulse recordings . The orchestra is veiled and distant , and Tranes's horn on The Damned Don't Cry is watery . The orchestrations and Trane's solos are sublime , and among the supporting players Reggie Workman stands very tall indeed .

Two drummers : Specs Powell and Specs Wright And , Willie Jones ( drummer ) with Willie Jones ( guitarist ) and Willie Jones ( pianist )

That may be true only in the sense that after 1965 his dipsomania may have led to a certain inconsistency of performance , yet an album like Soul Man from 1966 is not without interest ( and not just because of Wayne Shorter's playing ) I'm sure you would agree . Timmons is less overtly funky , more directly in touch with his roots in Powell . At times on Soul Man I hear him utilizing a rythmic approach akin to Andrew Hill's , which perhaps is what Peter A was reacting to when he noted Timmons 'struggling to find the right notes' on Chicken & Dumplins .

Vernice "Bunky" Green Norwood "Pony" Poindexter

I asked this before and didn't get a reply , so I'll try again . On J.J. ! , are the two previously unissued Tom McIntosh charts of the same quality as the Johnson and McFarland ones ? I ask , because I already have the Spanish RCA CD which sounds good , and so my decision on whether or not to upgrade to the Mosaic depends on the answer . Also , do those who have heard Stonebone think it would be a worthy candidate for Mosaic Singles treatment ?

Elvin Jones-Joe Farrell-Jimmy Garrison ( Elvin in need of a drum mat ! )

I think you mean this one from '69 : I have it somewhere but haven't played it in ages . Even this early he showed his pop sensibility ( he does "Wichita Lineman" ) and what I can only describe as his ersatz or cliched soulfulness .

I don't quite understand why one would want to limit the selection to what's on offer at yourmusic.com ; the financial impact of choosing a Silver title not on yourmusic.com is negligible . I assume you must have some other reason for so limiting your choice . Accepting your circumscription , I chose Cape Verdean Blues . Please note however that I consider the following better than any of the poll choices : Stylings of Silver , Further Explorations , Jody Grind and Serenade to a Soul Sister . The vox populi seems to favor the Jazz Messengers record . Its historical significance has already been noted , but that should not be dispositive . Since the 'Best of' CDs that you already own have selections from the albums under consideration , why not ordinally rank your favorite tracks and purchase the album that best reflects that ranking.

Very nice . Thanks for sharing Barry .

Ah...Matthew...you did mean to post this in this thread didn't you ?

I notice that on the high value records ( over $200 ) only the winning bidder's ID is now displayed . Why shouldn't we expect this new Ebay policy of concealing all the other bidders' identities to lead to an increase in shill bidding , especially given that Ebay benefits financially from such fraud ?

O.K. after spending some time scrutinizing some old records I discovered my error . I was looking at the wrong side ! It's the FRONT cover that has the frame lines , which as Michel noted are found on the top and along the spine of early Blue Notes . This is not caused by overlapping slicks as on the back , but appears to be a rise in the underlying cardboard . Now I fear that someone here might tell us why the cardboard has this feature , or more frightening still , that I might care

I used to think that Kakabuchi (sp.?) referred to the way the cover slicks were applied . The front slick extended a half inch or so onto the backing cardboard , with a smaller back slick applied over it in such a way that it is framed on three sides by the front slick . I soon realized however , that since almost all Blue Notes except the LTs ( which don't have slicks ) have this , kakabuchi couldn't be used to date pressings if it meant what I thought it did . Wait a minute . I just realized I'm discussing not cover tunes , not cover art , but cover construction . You never think you'll turn into one of those people until............... you do ! You're all enablers !

This seems like the thread in which to post this : Along with tracks by Coleman Hawkins , Clark Terry , and Kenny Drew , this compilation LP includes a track from this record : His other Riverside recording :

Maybe I'm dumb , but I read Jazzopaters as rhyming with syncopaters .

Prestige had two covers for this album :

Don't think so . Guy , I'm surprised you haven't posted the cover in the sexiest covers thread

This was Wetmore's first ( and only ? ) date as a leader . Recorded for Bethlehem , Wetmore's quartet included : Ray Santisi , Bill Nordstrom and Jimmy Zitano . According to Jack Chambers , this was not the original quartet that had gigged around Boston playing Bob Zieff material . Wetmore's original quartet had Jimmy Woode instead of Bill Nordstrom and Dick Twardzik in place of Ray Santisi . Woode left to join Duke's band and Twardzik left town because he was 'feeling the heat' . The eight Zieff compositions on the Bethlehem were, with one exception , later brought by Dick Twardzik to Chet Baker's quartet , and recorded for Barclay . Wetmore's album was reissued on vinyl in Japan , but I don't think it has seen reissue on CD .

Of course Cannonball Adderley did more for Riverside than this educational LP . It was he who convinced Orrin Keepnews to sign Wes Montgomery and who introduced jazz listeners to new talent through his 'Cannonball Presents' series . While I am not a fan of Adderley's Capitol recordings , I do enjoy much of his Riverside output . Some of my favorite Adderley is on John Benson Brooks Alabama Concerto which is also one of my favorite Riverside sessions . I add my voice to those who are grateful for the Monk and the Montgomery Riverside recordings , but as a jazz piano fan I am also especially grateful that Keepnews and Grauer gave Randy Weston his first chance to record , and also brought us Bill Evans , Don Friedman , Joyce Collins , Evans Bradshaw , Chris Anderson and Roosevelt Wardell . Also on Riverside is one of my favorite Lee Morgan dates , Take Twelve , and one of my favorite vocal records , Teri Thornton's Devil May Care .

Notwithstanding its title , I never considered this a children's record . I think it serves as a good propaedeutic for people of any age . It is not on CD , but an MP3 of it is easily found online . It should not be confused with this Hip Hop mashup CD which occasionally samples Cannonball's LP : Nor with this other LP with identical title which is more truly a children's record : The one introduction to jazz that is on CD is Leonard Bernstein's . Its focus on the technical aspects of the music complements Adderley's more historical/sociological approach : =

I came to the HSQ through Spud Murphy's GNP side that features 3 of the 4 members . Their playing on that recording had me looking for their Liberty records , especially their second one 'Warm Winds' , which features more Spud Murphy charts . When I finally heard that record I was mildly disappointed to find that Spud's charts were more classical than jazz in nature . Still pretty interesting music , but I prefer the intricate ensemble swing and rhythmic brio found on the GNP record as well as on HSQ's self-titled debut on Liberty , and on their third Liberty LP 'Sax Appeal' . Their fourth and final record 'French Impressions' on Verve, is classical and not jazz . The group had a readily recognizable sound , due in part to the tone and vibrato of Russ Cheever's soprano which imparted a particular harmonic color to the ensembles . Those fond of the Niehaus octets or chamber jazz in general , will want to bend an ear in the direction of these podcasts : >>CLICK<<