Chas

John's link to the Nat Pierce cover is dead , so for the one or two people who care , here it is :

FWIW , Downbeat gave the Leonard Keynote LP a one-star review . Not having heard it , I can't tell you whether that review was justified or not . I will say that if nothing else , the cover is interesting ; like something on the Saturn label . Leonard was with Chet Baker in 1956 and then.....?

I don't know , but what's wrong with the sound on The Prestige Trio Sessions ( containing Little Barefoot Soul and Chun-King ) put out by Fantasy a few years ago ?

You didn't see my post above ? AMCY-1271 Inner Space is what you seek . Keep your eyes on this reissue program from Warner Japan .

I've got both of the Kenny Cox records and the Frank Foster , but none of the others I think . The Turrentine Blues For Del is presumably New Time Shuffle ( out in the LT series ) . The Andrew Hill Change is...?( the stuff with Sam Rivers that was on Involution ?? ) The Jimmy Smith is...?

Steve Allen was Buck Hammer. And Steve Allen's maid was the Mary-Anne Jackson pictured on the cover of " The Wild Piano of Mary-Anne Jackson" . That record , along with the Buck Hammer , was issued on Steve Allen/Bob Thiele's Hanover label . Allen was culture-jamming before it had a name .

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 .

The sound of a needle moving quickly perpendicular to the grooves is one that really horrifies me . The more expensive the vinyl the worse the noise seems !

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 :