Simon8

Because the Town Hall Concert never truly clicked for me and thinking for a long time that this "BB&Q" was kind of a odds and ends compilation, I never gave it a fair shot. Well ! This is, indeed, top notch Monk, with Monk himself in great form and spirit, as are Rouse, Thad Jones and Phil Woods upfront, and Dunlop behind (a true joy). The arrangements make it at the same time a relaxed, airy and intense affair. A fantastic take of "Four in One" and a great "Misterioso", amongst others.

And this irresistible, drivin' intro by Red Garland (and Doug Watkins & Specs Wright) before Coleman Hawkins comes in: http://www.youtube.com/watch?v=bYScEdwQabI

Always liked this hell-raisin' solo by Eddie Costa (with Tal Farlow) http://www.youtube.com/watch?v=6SagCCeZXZo

(a 10 years) bump Finally got around to hearing this and indeed a superlative, inspired, plain ol' (and new) fun record. "Reality Check", recorded a year later with Jay Anderson again and Victor Lewis on drums, is along the same great line.

You're not alone ! I, too, very much dig A.T. and can't hear what supposedly wrong with him. I guess my (sincere) question would be: if A.T. was such an unreliable drummer (tempo-wise), why was he such in demand? Why did he play again and again with anybody that's anybody ? Did Coltrane and Miles and Red and Dexter and Jackie McLean (amongst others), have bad judgement when they hired him?

I concur ! A striking record.

Oops. Sorry about that, didn't know.

Here is some of the music: .... link to illegal site removed by moderator.

What John and Bill said !

Then my chapter would be... Paul Bley - Footloose ! George Russell - G.R. Sextet in K.C.: Original Swinging Instrumentals Sonny Clark - Leapin' and Lopin' Sam Rivers - Fuchsia Swing Song... or Andrew Hill - Black Fire...or Archie Shepp - Four for Trane

I would have loved to see De Franco "committing" to the bass clarinet and ultimately offering a kind of mainstream alternative to Dolphy in the 60's.

You'll find a few comments on the album here: For my part, I'm somewhat underwhelmed by that album. Great band, excellent tunes selection, but I feel De Franco could have used some more time with his instrument (did i read that he just had a few days ?): he often sounds strained to my ear (but maybe it's just me).

Thanks to this thread I picked up this Hardman album, which is quite good - a standout (if not outstanding) hard bop session: good band, excellent originals (by Hardman, Tom McIntosh, Cal Massey), and Hardman in top form, sounding significantly less "stiff" to me. He's great on "Angel Eyes" and wonderfully fast on his feet on the brisk "Capers" and "It Ain't Happened Yet".

How do you like it ? Moore is one of my favorite writer ("Birds of America" was brilliant).

Pretty much the same for me. I've never truly connected with POD, but very much so with "Black Fire" (I like "Dance with Death" for late 60's Hill).

Ethan Iverson' s take on Mr Harewood: RIP Al Harewood Back in the heyday of hard bop, when everyone played a similar folkloric ride cymbal beat, it was up to the drummer to make sure his pattern was distinctive. A quarter note is a quarter note is a quarter-note: Al Harewood’s version was effortless and Caribbean-inflected. His left hand coughed and bumped. Of course the bass drum was feathered just right. There was probably no moment of his professional career as a musician where Al Harewood wasn’t swinging. Harewood can be heard on the following albums, all of which are lifted up by his beautiful beat. The 60's music is the most famous: the many albums with Horace Parlan and George Tucker show that unit was a canonical rhythm section. Later, through Betty Carter, Harewood linked up with Norman Simmons, another musician with whom he shared similar ideals and taste. Completed by Lisle Atkinson, that unit was canonical too. [follows a list of records featuring Harewood] http://dothemath.typepad.com/dtm/2014/03/rip-al-harewood.html