Milestones

Just saying that for that price it ought to have belonged to a legend.

Was this Wes Montgomery's guitar?

Also a huge fan of The Quest--a great record even when great jazz records abounded. It sure doesn't hurt to have Dolphy and Ervin in the band!

Wasn't the topic Mal Waldron?

Part of the appeal of all those studio jam sessions comes from Mal's composing, which were included pretty regularly. They helped these records feel less like jams. I'm thinking of records like Dakar (usually under Coltrane's name), although Teddy Charles did more of the composing on that one.

A gem indeed. The world would be a lesser place without Miles' ballads.

8) “Body and Soul” with lyrics that pay tribute to Hawkins. Cool enough, and I know that voice. 9) Now we have quite a change with this soulful and noirish tenor sax. It could anywhere from the 1950’s to today. I’m guessing it’s closer to our present time. Some vibes, nice…that’s an instrument that I think is under-utilized in jazz. 10) Cool ensemble with baritone sax pretty much leading. I like the ensemble sound, but it’s a little static. Now picking up a bit. Could this be World Saxophone Quartet with rhythm? Wait, it’s “When the Saints Go Marching In.” Interesting. 11) We seem now to have moved fully into avant garde territory. This one doesn’t do much for me. 12) Sounds like some 60’s Blue Note…maybe early Freddie Hubbard. Maybe it’s Booker Little? Andrew Hill on piano and leading?

I see we have some old-time stuff. This first track is Satchmo doing “Heebie Jeebies.” Very enjoyable and just hits the spot this morning. Ah, Ellington with “Creole Love Call.” Great, great track—just about at the top (for me) among Ellington’s early recordings. We keep on with early jazz. Some of this stuff is hard for me to identify. This is another enjoyable track. Nice ensemble work, and I really like what the tuba contributes. This sounds a bit like Ellington from a few years in—maybe late 30s. But probably not. It sounds a little too smooth. Then some flute in there, which is unlike Duke. I don’t recall the flute appearing until maybe the last decade of his career. This is a nice track, but doesn’t have the timeless appeal of the first two tracks on the BFT. I was never a big follower of early piano. This is pretty cool and has hints of a more modern approach, moving away from stride and boogie woogie styles. That sure sounds like Coleman Hawkins. If not, someone with his kind of mastery. A solo piece, it appears. Is this his first solo piece, which is famous. I should know the title. …ah, “Picasso.” “Woody ‘n You”…that certainly sounds like Dizzy. Nice chart and performance.

I don't recall EVER hearing jazz at a grocery store. But I believe I once heard Eric Dolphy at Panera. That was a jaw-dropping moment.

I can see a possible mental/emotional advantage, but you'd think the physical effects would be detrimental.

I am not a musician, but surely music depends on reflexes and timing--and you'd think these would be f---ed up by using various substances. Yet most types of music (jazz, rock, pop, rap) have had, at various times, the strong presence of drugs.

How do musicians play music when they're strung out half the time? Just asking?

Never heard a bad recording by her. She was a player with great talent and soul.

I would like (and possibly love) to hear McCoy and Freddie from this period.

An interesting "what if?" scenario. I can picture/hear Mingus' music being every bit as effective, if not more so, as John Lewis's score for Odds Against Tomorrow.

R.I.P. I have heard Ron Miles on several Frisell releases, but not very much on his own projects. A talented guy, and from what I hear a wonderful human being. He will be missed.

Hmmm, if one hears a tuba with Blythe, it's almost bound to be Stewart. I've followed Blythe extensively and can't think of him working much with singers. Is it the vocalist's record? Or is that asking too much?

The first track is "April in Paris." It is nice, but I have no guesses here. Track 8 sounds like Arthur Blythe at the opening, then Bob Stewart later. I don't know where this comes from, and I have no guess on the singer.

Yep, Art Taylor is outstanding on the landmark Coltrane album. Also, it is interesting to hear him (a few times) in a trio with Trane, such as: "Trane's Slow Blues" and "Goldsboro Express."

I've delved into the book quite a bit. It is often quite interesting. On the down side, it's aggravating that he asks the same questions of everyone--and some of those questions are quite dated.

I'm looking for some responses to the work of Art Taylor. He was extremely active during jazz's greatest period (in my view), and I guess he was the house drummer at Prestige. He was found on many jam sessions, and he was almost certainly the most frequent drummer for Coltrane's Prestige sessions. Of course, we can't forget he was on Giant Steps, with very fine work there--including the memorable opening to "Countdown." Art Taylor moved to Europe in 1963 and stayed for decades, pretty much not recording--not even for Steeplechase. Not as distinctive as Max Roach, Art Blakey, Elvin, or Philly Joe--Art nonetheless added immeasurably to all of his session. He was a vital figure in a vital period. This is a playlist I created that shows his range of work with Trane: Cousin Mary Bahia Trane's Slow Blues Blue Calypso You Say You Care Velvet Scene Goldsboro Express Dial Africa Countdown Spiral Slow Dance Cat Walk Good Bait Traneing In

Anyone with even a slight knowledge of old J.S. can hear the "borrowing."

R.I.P, Mr. Brooker. I never followed the group much, though I liked what I heard. I hadn't realized "Whiter Shade" went that far back--around the time of Sgt. Pepper.

The Hill Street Blues theme my be the finest TV theme of all time, at least for a dramatic show.

There is good and there is great, but then too it's all in the ear of the behearer.