mmilovan

Never heard of Mark, to be honest, but many thanks for his recomendation, frank m! The other well-known person who listened carefully to Wilson might be Billy Kyle, especially in early parts of his career, judging from what I can hear in his piano playing.

Recovering from serious dental problems with portions of Trane's Olatunji Concert, tonight I also listened to live recording of BG trio from Oct 19, 1937. (strange mixture of material, ain't it?) It was "Remember Me", the tune (I like it a lot, even it's a bit banal) I'm referring here to. God, it's blessing Goodman hired Teddy for his group, because (to my ears) Wilson gathered frantic and often "old-school" sounded Goodman's clarinet, with Krupa's rhythms and patterns that borrowed much from tradition as well - with his mellow, sensitive, quiet - but not dynamically weak, and structurally complex piano playing. On this particular take Teddy recreated his own melodies, never dropping clichés or mediocrity constructions, never. Perhaps it was the reason people not listened enough to him, he was no showman like Hampton (although great vibe player contributed to the modern sound of this band with his perfect sense for emphasizing odd, "new" chords), but he was equal in up-tempo or slow ballad pulse. There are some film clips, showing this trio in progress, and focusing on Wilson occasionally - all that he played was so light in execution (but it is not very easy to emulate), so nice, and so rich in meaning. It's not strange Monk named it as his favorite. I love, love to hear Teddy Wilson! Nearly forgotten master of the instrument!

You're absolutelly right about that: that KC Six 1940s session with Wells, Jo Jones, Basie, Pres has some of those odd, still perfect Wells "free playing", or at least phrases and passages...

Sorry, Flurin, and all the people for not being with you, tomorrow I will have my tooth operation... Gosh, I'm happy you all noticed those free elements, we discussed bunch of them at our Pres realted corner, especially here: http://www.organissimo.org/forum/index.php...45entry120582 (theme: Lester and free jazz) I myslef can trace those as far as "Lady Be Good" solo (1939, studio date with Basie band, 2nd chorus) or even some broadcast material a bit earlier. And of course in other numerous postwar recordings.

Listened to "Chant Of The Weed", yesterday, and find it interesting as arrangement and solo spot by Redman.

Now, this is interesting, because, surely there is link to Wilson (whom Monk admired, Wilson and Monk itself, as he said in one interview) and I can hear Kersey as well, and characteristic Monk notes at the end of recording, that makes whole thing more complex to guess... The only one I can't hear in this solo is Tinney comparing it to famous Bird's paper disc record from Minton's...

My vote goes to "Blue In Green" - and to Bill Evans on that one, hightlighted solo on this album, IMO, of course.

What is the most interesting, at the very end of recording I can hear some "pling-plong" notes - maybe Monk switched to keyboard at that moment...

Hi people, Listening to "Swing to Bop" from Minton's playhouse, May 12, 1941. I would like to know how that solo piano sound to you, my friends - like Monk or Kenny Kersey? To me, I can hear Kenny and his specific aproach, rather than Monk. How about you?

Bird Lives!!!

Bird Lives! B-)

Well, I must admit, I've heard only "Careless Love" album about a week ago and nothing else. Then I thought to start this thread, but people here were a bit faster then me. Don't know what to think about Madeleine... She copied everything, timbre, glissandos, affectations, darkness, even phrases from Lady Day on this one. OK, I must say I'm happy that there is a person in this world who tried to emulate Billie (my favourite singer anytime), but - even I like Billie so much - Medeleine put so much Lady in his style, I'm afraid... And you know what: she is even more "tragical" than origin or root ever were... Listened to "I'll Look Around" from the very same album of Madeleine and the same song from Billie Holiday's Decca recording. Billie is optimistic, naive child compared to Peyroux, gloomy and not so easy to accept if you're not prepared to.

Well, must say to Chuck, this is the CD I already put some money on the side (about 6 months ago), and surely there is nothing else simillar (as far as CDs are concerned) I can wait so much time to hear. I myself, personally am so interested in this one, that I will be so much excited first time I ever been able to listen to this issue.

I've got it, I've got it, today... I've got it. Today. I've got... It! Thanks Flurin. They all sound perfect.

Still waitin', still waitin' while expressing so much love to my postal service

I didn't know about this anecdote. Many thanks... BTW, those OJC discs, do they contain everything Lester and Potts recorded during those few days/nights in 1956?

Let's not forget how he contributed in recordings of some of important sessions (Lester Young sessions, then Bird's Washington concerts and etc) Without him there would never be such important documents of history of music we admire so much.

With today's technology, where you can find relatively large amunts of memory for cheap I found mp3 useless while archiving is concerned. Once you have wav compressed to mp3 it is ireversible to get it back in original uncompressed form. Just as if you have for an example tiff or bmp bitmap and convert them to highly compressed, low quality jpg format, you never can have it as originals again.

Now, this is a little to much for me. First Jacquet, then Shaw, now Smith. A hell of musican he was. His art was Sermon. R.I.P. Mr. Smith

Me too! Hey Big Al is it Shearing there or not (on those two tracks)...?

Those mid-1950's sides for Savoy with Norvo, Charles Mingus and Farlow are among my favourite records anytime. Another one I especially like: Norvo, Wilson and Harry James on that slow blues ("Just a Mood").

Hello postoffice - right on time!

After having rather crappy Thorens model (second handed), my Santa Claus was very gratefull and nice person in preparing this year Christmas gift - it was ProJect model rpm4. I like it very much - very very nice sounding and quality bulit turntable.

Speaking of Shaw, how many of you people are excited (today and now) hearing “Special Delivery Stomp” – classic Gramercy 5 number? From the time I’ve first heard it, this number is one of a kind to me; the way band shines through last two choruses is just marvelous. Band members showed perfect sense for building climax, and contrast between Guarnieri (celesta) and Al Hendrickson (el. amplified guitar) is so unique (old time instrument gathered together with most recent one)...

Right, it was Artie!