Ken Dryden

I just found this LP at an antique store about 10 days ago. I think it was issued in Canada with a slightly different catalog number, but I don't think there have been any reissues.

I purchased a copy last spring after doing a phone interview with Terry Gibbs. He may be retired but he was still full of energy and with lots of great stories and lots of laughs. I highly recommend it! I just finished Fred Hersch's autobiography. Even after viewing Coma Dreams, his description of his induced coma and rehabilitation therapy afterward is gut-wrenching.

I'ts hard to imagine how many recordings i own that were recorded there.

I met HutchFan at a Expansions; The Dave Liebman Group concert in Duluth, Georgia. He let me know about this concert through the organissimo board, which was closer and saved a time zone change over the one Liebman had told me about that was coming to Nashville. Not only did we have a great time, but Liebman had the concert recorded and it made up disc 2 of his live CD of the group. We've gotten to hang out in the Atlanta area a few times, seeing Fred Hersch, Miquel Zenon and Kenny Werner with the GSU Big Band. I may have met other board members in passing when I attended IAJE each year between 2000 and 2008, but I wouldn't expect them to remember it, as I can't say for sure.

I'd like to see Dave Liebman honored, he deserves it.

Likewise, I don't stand for a show, arthritic knees prevent it.

Everything I've led is that a CDR does not have the life expectancy of a manufactured CD, which is why I avoid them. Discogs.com is a better alternative than Amazon, for both buying and selling. Amazon (like half.com after the clowns of ebay bought that site) ruined their site for individual sellers with stupid restrictions (like calling all sawcut product promos, when they are frequently closeouts to prevent retails from returning product for full refunds), insane fees for sellers, plus inflated shipping rates of a flate fee per disc (even when buying several items from the same seller) or lowballing the seller in the case of larger boxed sets. The last straw was Amazon's asking of sellers what their sources of new products were. That was hard to answer, as I've bought duplicates in error, gotten gifts of items I already owned, or occasionally found factory sealed CDs at low prices locally that I thought would resell online at a beter price. On Discogs, there are a lot of options, including allowing a buyer to make an offer, matching up with the exact version of the item you want to sell or buy, customized shipping rates, etc. The few disappointments I've had with quality of some items purchased have all been settled with no hassle.

Watch out for importCDs, as there are times they don't label their CDrs as such. I can't remember if it happens on their Amazon page or

Stock up on his prolific output for Philology, there are many amazing sessions that he made for the label.

What I find strange is when jazz journalists hop on the bandwagon of a new artist and then some of them imply you are unworthy if you don't join the crowd. One veteran writer made such a gripe about fellow writers during the annual JJA poll who omitted Nicole Mitchell from their annual nominating ballots. I reminded him that unless one is serviced by every label or artist, it is hard to justify voting for someone one hasn't heard or investing in their music. I don't make a habit of constantly researching unfamiliar music online, as I have a huge backlog of music awaiting an initial hearing, there aren't enough hours in the day even though I've been retired from full time work for over three years. To this day I've yet to receive any of Kamasi Washington's releases and from what I've read I probably would not be interested in any of them. That said, I don't begrudge anyone who enjoy's Kamasi's music and champions him as among the best on his instrument.

She also appeared on Marian McPartland's Piano Jazz, which may still be available to stream. I am trying to remember whether I interviewed her or not, though we did correspond after I reviewed one of her CDs.

I hate trying to store mp3s as well, I have enough in the way of files on my computers. Give me a CD with detailed composer credits, liner notes, photos, etc. I'm not running out of physical storage space, as I have a 10 by 30 foot music library in my basement with lots of shelves.

I can't say I've been impressed with the quality of new vinyl pressings, though I haven't bought many of them. I'd rather have the better fidelity (without surface noise, pops, etc.) of CDs and I have absolutely no use for crappy, compressed mp3s.

Get the Japanese CD set of Live at the Showboat and avoid the truncated live CD put out by Novus in the 1990s.

My filing system works pretty well, but sometimes I leave a CD elsewhere in the house and take awhile to find it, since there are three different levels. A bigger issue was dropping a CD, not noticing the discs popped out on the floor and then I discovered I had rolled over it with a desk chair.

I don't think any artist's singing or growling is as annoying as Keith Jarrett's, though Glenn Gould may be a close second. My parents were seated in the second or third row during one of Gould's last concerts in the early 1960s and were puzzled by the strange sounds.

The nocturnal, gregarious, wild swine! Happy Birthday!

Damned autocorrect. Thanks!

They don't seem too interested in keeping her music in print now. Of course, i know that Sackville ended up in Denmark's hands following John Norris' death. I bet it is a great performance, wish I could hear it.

I was talking about the King box issued through Storyville, not the Swiss box. I guess I could have quoted that post to make it clear.

Thanks for the kind words from all of you. It was fun putting the BFT together and it's nice to hear that you consider a few of these CDs worth buying. I was able to see Marian McPartland in a number of different cities over the years and emceed her solo concert here in 1990. She was always a fun interview and able to communicate with her audience. One of her most memorable sets was at the first IAJE in Toronto (2003), featuring her with bassist Don Thompson and drummer Barry Elmes. It is mentioned in this article I wrote for All About Jazz: https://www.allaboutjazz.com/cool-jazz-in-a-cool-city-iaje-in-toronto-2003-by-ken-dryden.php?page=1

I've got the box. Bechet's playing is at a high level, Mezzrow is his usual mediocre self.

June 2018 BFT Reveal Track 1: Old Devil Moon, written by Burton Lane & Yip Harburg Alan Dawson: Waltzing With Flo (SpaceTime BG 9808) https://upload.wikimedia.org/wikipedia/en/2/2a/Waltzin%27_With_Flo.jpg From Alan Dawson’s only recording as a leader, released after his death. Although Dawson is better known as a drummer, he recorded sporadically on vibes. The musicians on this track include: Alan Dawson: vibes Bill Mobley: trumpet & flugelhorn Billy Pierce: tenor & soprano saxophone Andy McGhee: tenor saxophone James Williams: piano Ray Drummond: bass Tony Reedus: drums _____________________ Track 2: Duo Improvisation No. 1, improvised by Cecil Taylor & Marian McPartland, from Taylor’s first appearance on Marian McPartland’s Piano Jazz in 1986. This show may be available on the Piano Jazz website for listening, though available shows can change without warning. I always enjoyed how McPartland played in a duo setting with a wide range of guests and she got more adventurous in free improv settings as her career progressed. https://media.npr.org/assets/img/2012/09/24/ceciltaylor-ac87f4a1ef3a4b0918607ce901e6733fe08fd5e7-s800-c15.jpg As you can hear, McPartland is able to keep up with Taylor in a free jazz setting. I recorded hundreds of her Piano Jazz shows, in addition to other live non-commercial broadcasts, so I might feature one or two similar tracks in a future BFT. _______________________ Track 3: Village Blues, written by John Coltrane From: Paul Gonsalves Boom-Jackie Boom-Chick, (Phono 870286), a rather rare LP recently reissued. https://img.discogs.com/fZhSO7ppS5C3RcjWHmoDwawCFs8=/fit-in/600x526/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-11926504-1524881734-7475.jpeg.jpg Paul Gonsalves: tenor saxophone Pat Smith: piano Kenny Napper: bass Ronnie Stephenson: drums I was so used to hearing Paul Gonsalves with Duke Ellington’s band roaring in uptempo settings or sharing his distinctive approach to ballads that it was fun to hear him tackle something outside of his usual repertoire with this British rhythm section. This is a recent acquisition on the heavily panned Phono label, because the original LP is long out of print and typically sells for a small fortune. ________________ Track 4: Densities, written by Gunther Schuller From: Eric Dolphy: Vintage Dolphy (GM 3005CD) https://www.discogs.com/release/1482588 Eric Dolphy: clarinet Gloria Agostini: harp Warren Chiasson: vibraphone Richard Davis: bass Eric Dolphy was one of my first interests in jazz, though I’ve primarily focused on his recordings with bass clarinet, flute and alto saxophone. This example comes form a 1963 Carnegie Hall performance. _______________ Track 5: If You Could See Me Now, written by Tadd Dameron Art Farmer & Fritz Pauer: Azure (Soul Note SN 1126 CD) https://img.discogs.com/yWKPPlgfiFAGup2xUBkPwTJIzNU=/fit-in/600x598/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-6788437-1491129986-4179.jpeg.jpg Art Farmer: flugelhorn Fritz Pauer: piano A beautiful duo session featuring Art Farmer with his pianist of choice when playing in Europe. Farmer is one of the masterful ballad interpreters of the modern jazz era. _______________ Track 6: Petite Fleuer, written by Sidney Bechet Dave Liebman & John Stowell: Petite Fleuer (Origin 82753) https://img.discogs.com/n0NvbUZocI1BP7c8KvY0ZA3o1Lo=/fit-in/600x533/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-11713151-1521115034-5575.jpeg.jpg Dave Liebman: soprano saxophone John Stowell: guitar Dave Liebman always has multiple projects in various stages of development. This entire CD is devoted to music composed or performed by Sidney Bechet, the first master of the soprano saxophone. Liebman does not try to copy Bechet’s hard vibrato, but his lyrical duet with Stowell on guitar is worth the price of the CD. There are also solo versions of this song by Stowell and Liebman (on piano). This is a 2018 release and many of you may have not yet heard it. _________________ Track 7: The Surrey With The Fringe On Top, written by Richard Rodgers & Oscar Hammerstein II Mary Lou Williams Trio: Free Spirits (SteepleChase SCCD 31043) https://img.discogs.com/JPC3yo3KgqTYvsJBV_chPNsiiCo=/fit-in/600x593/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-8603251-1464932866-3731.jpeg.jpg Mary Lou Williams: piano Buster Williams: bass Mickey Roker: drums Mary Lou Williams was renowned for her ability to play almost any style around during her lifetime, though she is usually identified with bop and swing. She romps through this standard with her left hand likely making this an easy identification. ___________________ Track 8: Samba do Avião, written by Antonio Carlos Jobim Phil Woods & irio De Paula: Encontro (on Jobim) - The Clarinet Album (Philology W301.2) https://images-na.ssl-images-amazon.com/images/I/51ky19w0ZxL._SS500.jpg Phil Woods: clarinet Irio De Paula: acoustic guitar Phil Woods’ extensive recordings for Paolo Piangiarelli, the owner of the small label Philology, are remarkable in many ways. Piangiarelli parred Woods with numerous talented musicians that the jazz master might not have met on his own, while Woods had the freedom to choose instrumentation and songs. This session is unique as Woods sticks to clarinet throughout the date, even though he had brought his alto saxophone. He is quoted: “Irio is a master musician and Jobim’s music flowed like sweet spring water.” ___________________ Track 9: The Fruit, written by Bud Powell Jim McNeely Tentet: Group Therapy (OmniTone 15101) https://img.discogs.com/WzREFegys_rG4tiIXMGZC4eiZdU=/fit-in/600x589/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-3633641-1527021174-9953.jpeg.jpg solo order: Billy Drewes: soprano saxophone Scott Wendholt: trumpet Ed Neumeister: trombone Dick Oatts: alto saxophone Tony Kadleck: trumpet Scott Robinson: baritone saxophone (first solo) Tom Varner: French horn Jim McNeely: piano Cameron Brown: bass Scott Robinson: baritone saxophone (second solo) John Hollenbeck: drums One of the highlights of attending the IAJE Conference in New York City in January 2001 was a pre-release performance of the Jim McNelly Tentet’s Group Therapy, with the band playing all but one selection. McNelly’s inventive treatment of Bud Powell’s “The Fruit” was one of many outstanding arrangements. There’s also a great scoring of “Village Blues” on this out of print CD. ___________________ Track 10: Bond Street, written by Fats Waller Dick Hyman: Cincinnati Fats (Musical Heritage Society MHS 512089T) https://img.discogs.com/bzlYXGYq9WrZuKCb4Gdr5tjJZPw=/fit-in/600x611/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-11514171-1517686972-6529.jpeg.jpg (The cover is from an earlier LP, I managed to lose my CD booklet some time ago.) Dick Hyman: Emery Theatre WurliTzer (with attached grand piano) Dick Hyman was honored last year at the age of 90 as an NEA Jazz Master. Known for his wide range as a stylist, Hyman has recorded extensively on both pipe and electric organ, in addition to his numerous piano recordings. This CD has long been a favorite and it is a bit brisker than the composer’s sole known recording (a second version of Waller’s “London Suite” is presumed lost and was never issued. “Bond Street” is supposed to represent Waller’s impression of a day in the life of a London hooker. ______________________ Track 11: Springtime For Hitler, written by Mel Brooks Toshiko Akiyoshi Trio: Four Seasons (Ninety-One CRCJ-91002) https://img.discogs.com/uvhKth-xJ7raS0IWx5XHozaOaaw=/fit-in/600x529/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-12037567-1527024628-6684.jpeg.jpg Toshiko Akiyoshi: piano George Mraz: bass Lewis Nash: drums When Toshiko Akiyoshi was working on her CD Four Seasons, she obviously wasn’t thinking of Vivaldi. Instead she selected songs with various seasons in their names or titles which are readily affiliated with specific times of the year. Lew Tabackin told me that he suggested “Spring Time For Hitler” (from Mel Brooks’ hilarious film, Broadway musical and second film ‘The Producers’) and that she was unfamiliar with it but gave it a go. This farcical song becomes even funnier played in an uptempo bop setting. ________________________ Track 12: Step Tempest, by Herbie Nichols Philip Johnston’s Big Trouble: Philip Johnston’s Big Trouble (Soul Note 120152-2) https://img.discogs.com/ZmZAv-gn9V1DoFwgD5SW5ENxoyA=/fit-in/592x600/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-5680619-1416468028-2306.jpeg.jpg I first became aware of Herbie Nichols’ music when I bought the Mosaic boxed set of his Blue Note recordings and wasn’t disappointed. I’m not sure whether I first heard Philip Johnston on his own or as a part of The Microscopic Septet. Johnston proves to be a savvy arranger of this Nichols’ gem. David Hofstra: Bass, Bass [Fender], Tuba Drums, Percussion, Marimba, Glockenspiel – Kevin Norton Keyboards, Sampler – Joe Ruddick Soprano Saxophone, Alto Saxophone – Phillip Johnston Soprano Saxophone, Baritone Saxophone, Bass Clarinet – Bob Debellis Trombone – Jim Leff ______________________ Track 13: Just Friends, written by John Klenner & Sam M. Lewis Terry Gibbs, Victor Feldman (as Vic) & Larry Bunker: A Jazz Band Ball - Second Set (V.S.O.P. #40) https://img.discogs.com/CZh5fFdl8sg-GjEjtdO6ZRNr9LE=/fit-in/300x300/filters:strip_icc():format(jpeg):mode_rgb():quality(40)/discogs-images/R-8619404-1527025984-5572.jpeg.jpg Terry Gibbs has the melody line on vibraphone in the opening chorus. Vic Feldman: vibraphone (first solo) Terry Gibbs: marimba (second solo) Larry Bunker: vibraphone (third solo) Lou Levy: piano Max Bennett: bass Mel Lewis: drums A fun date that has been issued under several different titles on various labels. ______________________ Track 14: Georgia On My Mind, written by Hoagy Carmichael Ben Webster: At The Renaissance (OJC OJCCD-390-2) https://img.discogs.com/EjsQQ06Kjtazgku9OiZ44OY5HcI=/fit-in/600x585/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-5745448-1410517447-2090.jpeg.jpg Ben Webster: tenor saxophone Jimmy Rowles: piano Red Mitchell: bass Frank Butler: drums This live recording from 1960 by Ben Webster first appeared in 1985. Webster’s big tone on tenor sax is unmistakable, while the West Coast rhythm section backs him well. Jim Hall also plays on this recording but is not present on this track. ______________________ Track 15: Seven Come Eleven, written by Benny Goodman & Charlie Christian Jim Hall Trio: The Complete “Jazz Guitar” (Gambit 69259) Jim Hall: electric guitar Carl Perkins: piano Red Mitchell: bass https://img.discogs.com/OY8D6ftfe8vpgXtp0sUyUjUk2UU=/fit-in/600x549/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-8616156-1465214356-1823.jpeg.jpg Producer Dick Bock was notorious for messing around excessively with records. Jim Hall’s debut as a leader deserved a better fate. Bock edited many of the solos by Red Mitchell and Carl Perkins, then when a Pacific CD reissue was in production, it was discovered that a number of the original unedited tracks had been lost, along with one entire song. Fortunately, this out of print gray market (or bootleg) CD restores the original recordings in full. ____________ Track 16: The Peacocks, written by Jimmy Rowles Pierre Michelot: Basses And Bosses (EmArcy 842 531-2) https://img.discogs.com/gSxfRuEb3c_l8CMH093Ajxq8FZ4=/fit-in/600x596/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-11165148-1520546113-2690.jpeg.jpg Pieree Michelot: bass, arranger Toots Thielemans: harmonica Pierre Blanchard: violin Maurice Vander: piano Billy Higgins: drums This was one of many CDs that seemed to stay in print only briefly. Pierre Michelot was one of the great European bassists and this was a relatively rare opportunity for him to lead his own record date. Toots Thielemans is easily recognizable as is the Jimmy Rowles composition, but everyone else, maybe not as much.

Thanks for sharing, I knew Zev Feldman had located some unissued Eric Dolphy.

I've enjoyed disc 1 and while there is nothing earth-shattering, it definitely merited being released. At least the producers wisely omitted false starts and breakdowns that seem all to common on comprehensive packages.