Chas

As in, was this reissued, perhaps under a different title? It all looked vaguely familiar, but I couldn't place such a session as being with Blue Mitchell and Barry Harris, so I went for it. Gots to be good, right? http://www.jazzrecordrevival.com/popup.cfm...l&itemoid=14463

What it is : The famous Watts Towers in Los Angeles . The Hear Ye , Hear Ye cover shot is something else .

Isn't the guitar player Phil Upchurch on this one ??

Rumor has it that Ira Gitler has one of the private tapes that exist of this March 1954 session that was lost in the vault fire , so we may yet hear it someday .

Re : the Brew Moore Quintet album ..... 1) Was the whole August 1955 concert at Berkeley recorded ? Odd that they just put that one tune from the gig on the album . 2) On that live track , who might the unidentified guitar player have been ?

Two of my favorites : 1) Art Blakey and the Jazz Messengers on Impulse from 1961 . Doleful , moody , atmospheric version with a muted Lee Morgan taking the melody , Curtis Fuller with a muted solo and best of all , Wayne Shorter , whose plangent tone is so well suited to this material . Well recorded as well . 2) Stan Getz on Columbia from 1975 ( album called " The Master " ) . This is an exuberant , swinging quartet with Albert Dailey and Billy Hart providing terrific support .

Charles Earland --- Leaving This Planet December 11,12,13 1973

We already have a thread dealing with this question here . You also may want to read this . I'd suggest deleting this thread and bringing up the original thread for fresh input .

I actually think the rhythm section isn't the problem . Clarence Jones the basssist has a big rubbery George Tucker-like sound , and is up front in the mix . Amos Trice sounds fine.The problem for me is trumpeter Martin Banks . A limited , middle-register player ( like early Bill Hardman perhaps ) who only sounds good when harmonizing with Land . The tunes are not memorable . Land's soulful take on " You're My Thrill " is the highpoint of the record . Here is an article on Austin's Martin Banks :www.creop.org/html/martinbanks.html

A Web search yields a recording date of July 5, 6 1960 . As for the Kent label please see : www.bsnpubs.com/modern/kent.html As for who " Kess " might be , could it be guitarist Barney Kessel??

While it's true that many obscure artists are deservedly so , the meritorious deserve a place in jazz history . Paul Knopf is the kind of artist that makes crypto-jazzology both so rewarding and so important . Garth was right to list Monk and Hope as stylistic confreres , to which I would add Herbie Nichols . Paul told me that he heard Nichols at the Page Three club where Nichols was backing singers ; he even subbed for Nichols one night at the Metropole with Cootie Williams outfit . Paul hooked up with Richard Davis ( or " Richie Davis " as he is listed on the Knopf lps ) in the autumn of 1958 . Along with drummer Jim Olin they cut two trio dates that came out in 1959 . A third session with brass was recorded but never issued as no complete takes were laid down .Despite critical praise in Downbeat , Metronome and Playboy , Playback Records , run by rank amateurs , failed to promote the lps and thus Knopf was condemned to obscurity He emerged again on a self-produced trio lp in 1977 assisted by Jack Six and Joe Cocuzzo. All three Knopf trio dates are composed entirely of original compositions and are earnestly recommended to afficianados of jazz piano .