Alexander Hawkins

My thougts exactly re. the Dolphy!

I couldn't decide, really, but I went with Moment's Notice, because I think it's compositionally more interesting than Blue Train. I like them both equally to hear, but I had to split them somehow! Nice structured song, with the pedal and the breaks. Some of the changes, although they're relatively conventional, sound like the 'Coltrane' changes without actually being them. At least to my ears(!) But I like these two, MN and BT, the best!

Bud Powell. Can't wait for this. The other 4 are some of my favourite BNs. Whenever I hear Bud, I get perspective on every other piano player I've. So few have anything like the same impact on me.

I think there might be a version by the Brown/Thigpen edition of the Oscar Peterson trio, but I could well be wrong!

Thanks for the suggestions!

Perhaps I haven't heard enough Lyons to take the plunge on this, but I've just got Cecil Taylor - 'Mixed', and love Lyons on that. I can see that this is pretty early Lyons, but are there any other recommendations for Jimmy Lyons' stuff? I've got the two CT BNs, and the track which appears on Wildflowers vol4... Thanks in advance!

Mule, I think you got my answer pretty much on the nail. I've got the Mercury box, and a few other bits and bobs, but not much else. How is 'Bright Moments'? I've heard it raved about, but haven't picked it up yet.

In absolutely the best possible way, I almost wish I hadn't read that post which has started me drooling over this one! Thanks for the review, and bring it on!!! Undiscovered Charlie Parker is not unlike undiscovered Michelangelo/Shakespeare/Beethoven...It's just not supposed to happen. This is brilliant news!

I love Lonnie's playing. Admittedly I haven't heard much of his post-BN recorded output, but I think Lonnie live is a different creature to Lonnie on record. Live, he's amazing, and can whip up a storm like no-one else I can think of. I haven't heard this new one, but 'simple' isn't a label I'd associate with the Dr. Albeit that he's got all the B-3 tricks up his sleeve, he's also got a really deft touch, and a quite unusual (in a good way!) melodic sense. And a really puckish sense of humour to go with it! I've also never seen anyone apparently enjoying themself so much whilst playing as well, and it's REALLY infectious!

With the sad thread about Jimmy Smith, I thought that those who haven't seen him recently should know that Lou Donaldson is still in VERY fine fettle. Caught him the other day in London. I think this might be the 3--4 time I've seen him, and I guess that would make him around 5 or so years older now than when I first saw him. However, this was probably by some distance the finest I've seen him play. He played a great 'Blues Walk' to open, but the highlight for me was him burning through the rhythm changes on Allen's Alley. Not to make too much of a political point, but he was received with a chorus worth of applause when in the blues, having dreamt he was in the White House, chatting to Dubya (whom he 'didn't want anyway...'), he 'woke up this morning/[and] not a weapon of mass destruction could I find'. Lonnie Smith was absolutely incendiary for the first half of the gig, although curiously didn't solo on the last couple of tunes. Anyway, to all those who need an antidote to the sad story about Jimmy Smith in the other thread, two more icons, Lou Donaldson and Lonnie Smith, are still very much at the top of their (very entertaining) games!

Charlie Parker - Don't Blame Me

Very sad news - a true great, in all the senses of the word.

Thanks everyone for taking the time to put down those thoughts in so much detail! Shrugs, I'm actually on the wrong side of the water from most here. I don't know if anyone has any suggestions as to stores in the London area? It's interesting what you say on LP v. CD, ajf - I think at this stage I tend to agree, although I can't tell whether it's just because I feeling pleased with myself! What I guess I really need to do is A/B the same album. One other question that I forgot to stick down on my original list (!) - what is significant about '180g vinyl'? I think I've seen a few of the BYG/Actuel releases in particular having this sticker on... Anyway, double cause for celebration today. I'm expecting to go and pick up the LP copy of 'Hootin' and Tootin'' I ordered a few days back! Thanks again for all the help!

Having a while ago posted asking for some recommendations for an entry-level turntable, I eventually landed on a Project Debut Phono SB - ideal because it also included a phono amp. Anyway, it might not be the most audiophile setup, but I was a bit cash strapped, and I'm chuffed to bits with it! I wonder if anyone had any general advice about any general issues to do with getting started on vinyl? For example, if track listings are the same, do you tend to favour buying vinyl over a CD? And if you buy second hand, are the quality ratings (VG, Good+, this type of thing!) fairly standardised, or is the only safe thing to do to listen to the record before you buy it? Anyway, like I say, I'm feeling really pleased with myself for taking the plunge and getting started on vinyl. It's not too much of an exaggeration to say that it pretty much opens a whole new world of recordings you didn't know existed (or never thought you'd find even if you did know of them), going into a second-hand store and rifling through the bins! And thanks again for all the suggestions as to which TTs I might think about buying.

I've always wanted Eric Dolphy playing a solo alto version (a la 'Tenderly') of 'I've Never Been in Love Before'.

I don't know if this has been posted before, or if it's any good, but I just found some Andrew Hill on the BBC website. Haven't heard it yet, but looks interesting! Andrew Hill page on the BBC I hope that link works, and please feel free to delete this thread if I'm recycling what's already been said!

I guess we've occasionally come across these. This review has the good grace to reveal that it is selling a play-along educator, but... 1. Jamey Aebersold -- II-V7-I Progression . . . LP . . . $16.99 (Item: 46464) JA, 1978 Condition: Very Good+ View Cart One of many fine records cut for the Jamey Aebersold label of jazz improvisation/instruction albums -- and one that features some excellent piano work by Dan Haerle. The piano is all acoustic, but it's got a freely soulful feel that makes the album way more than just a jazz instruction album -- and the best cuts have a tight trio groove and lots of nice bass work by Rufus Reid. Titles include "G Minor Blues", "Bebop Tune", "F Blues with An 8 Bar Bridge", "II V7 I", "II V7", and "0 V7 9". (Includes the instruction booklet.) In all fairness, I haven't heard it, but what say you?

Absolutely agree! I'm not quite sure what my point was, in fact! It is a pretty un-Bill Evans voicing. I guess it's the touch that gives him away, because you couldn't pick those opening chords of 'So What' on their voicing, that's for sure. McCoy is certainly unique in his sound.

Is that true? Off the top of my head, I'd say the Bill Evans voicings from the start of 'So What' on KOB are stacked fourths with the a thjird on top...Can't remember though. Either way, I still take the point that it wasn't a common sound!

I'm generally with you on this one, but have you read Gary Giddens (the Kirk chapter from 'Visions of Jazz' (OUP) on this album?!? Something about 'Slightly Latin' making you want to hurl the CD out of the window, I think...

I think Henderson plays a little flute on Point of Departure, briefly..? How about Ayler playing the occasional bit of alto (e.g. on the Village Vanguard recordings)?

You've got three years on me, so hopefully time's on our side to get Mal his dues!

Would definitely like to post on this one - just can't get to my copy just now! 'Warm Canto' I find quite a strange tune - it could almost be some turn of the (last) century piece of English pastoral music. I remember liking the compositional aspect of this album a lot - I guess that's something Waldron's quite into. The Dolphy/Ervin front line always strikes me as a peculiar idea, until I hear it (if you see what I mean). In fact, it takes a brave person to pair Dolphy with anyone in a front line, let alone another reed player. Although I never think of him as an aggressive player, I'd imagine that it's near impossible to follow him on the stand. I don't think anyone did it like Booker Little, for what it's worth, and he might have been interesting on this date. Dolphy really sears through the opener - I remeber that much. The same kind of incandescent playing as I hear on the Mingus at Antibes album. I also think that Waldron seems somewhat happier here than in the Five Spot recordings. Maybe I need to listen to those again, but sometimes I feel that he's really up against it with Ed Blackwell and Richard Davis, whereas Charlie Persip just lets him do his thing here (that's absolutely NOT to be read as a slur on Charlie Persip - I agree with everything that's been said about him! A fine player, from the (admittedly slight) amount I've heard).

Just got my first taste of Gene Ammons the other day - have now posted him in the 'just discovering' thread! I'm really enjoying 'Boss Tenor' - the blues lead-off is fantastic. The liner notes (I forget by whom - LeRoi Jones, perhaps?) make a really perceptive point, in my book - that he seems to sound like the impossible middle-ground (tonewise) between Lester Young and Coleman Hawkins. Ammons, I think, doesn't need any borrowed glory, but purely descriptively, I think it's just about right!

Big tenor guys for me - Gene Ammons Johnny Griffin Lockjaw