Milestones

Any thoughts on this legendary band? I was into the group a little bit when I first got into jazz, which was 1981. They had been around for quite a while and had just had a few years left. I was mainly interested because they came from the Miles Davis tree. Despite the phenomenal talents of Zawinul and Shorter, I was not a big fan in those days. It was certainly a different kind of fusion from John McLaughlin, Chick Corea, Larry Coryell, etc. I have become familiar with Black Market and Heavy Weather, and there's no denying their importance to jazz--and they provide plenty of good listening. I've also got a nice anthology of the group's work. In any case, I have come to more greatly appreciate the group's creativity and quality. Zawinul did essentially run the band, which I always thought was odd given Wayne Shorter's enormous talents as composer and player. I have to say, though, that Zawinul did sum up his talents well on Brown Street--the double CD big band record from late in his career, consisting mainly of Weather Report material.

I have also liked what I've heard of the Dizzy/Getz records; there seem to be quite a few of them. Some will think the partnership sounds odd. I guess you don't know Getz very well if you don't know he could be a smoking bop player at times. If not already mentioned, I recommend the album by Bebop and Beyond that pays tribute to Dizzy, with Dizzy on most of the tracks. His singing and moving trumpet solo on "I Waited for You" should not be missed.

Kenny Dorham deserves to be much better known. What can you say about a guy who played with Bird, Monk, Blakey, Silver, Coltrane, Rollins, Joe Henderson, Max Roach, Andrew Hill, and more. He was no slouch as a leader, either. I particularly like Quiet Kenny and Jazz Contrasts. Can't say I ever heard him with Jackie McLean, and I'm a big McLean fan.

Yes, a duet with record with Haden--I wish there was one. It would be wonderful.

I'm a big fan of Herb Ellis' Nothing But the Blues. Great lineup, and "unpretentious yet unpredictable" says it very accurately.

Did Dolphy play much flute on the records with Oliver Nelson? I only remember "Stolen Moments" from The Blues and the Abstract Truth. They made several other records, though I only had one: Straight Ahead.

Any fans of Jessica Williams? She's been around quite a while and has never had the visibility she deserves. In fact, she is in somewhat tough times after spinal surgery this past summer. Here's hoping her recovery is swift and full. Much of her work is solo, and I first got to to know her through the Maybeck album. She has done a huge amount of recording, some of it available only at her website. Again a lot of solo work, but also trios and bigger groups. She is a big Monk fan and seems to know the whole history of jazz piano--and jazz itself. She reminds me a bit of McCoy Tyner, especially when covering Coltrane pieces--which she has done quite a bit. She has a great touch, she's a great blues player, and she plays music as if it's transcendent--as, in the right hands, it surely is.

Can you specify the group sizes on those Steve Lacy records? I'd say Sonny Rollins Vol. 2 (Blue Note) is the best of his quintet records. Of course, he did work with some great trumpeters, such as Brownie (Basin Street is the best, IMO) and Miles (I really like the four short tunes from 1954, three of them Rollins compositions).

Taking this in a different direction--who would you want to hear do a jazz album? It seems that just about everyone has does one, but that's not true--especially for jazz artists. Two that come to mind: Keith Jarrett Bill Frisell

Some good choices on Monk and Mingus--great artists indeed. Not sure I'd go with the Mingus on piano as a masterpiece, though I know there are some real fans--including virtuoso pianist Jessica Williams. BillF, Is that Sonny Rollins #1 or #2? I really love #2 with Monk, Silver, J.J., Chambers, and Blakey.

We live in an era where many jazz artists regularly vary group size and format from album to album. I'm thinking of artists like Joe Lovano, Pat Metheny, David Murray, and Anthony Braxton. This is a good thing. Much as I love Miles Davis, he pretty much worked in either quintets/sextets or backed by Gil Evans (though you had rarities like the Birth of the Cool nonet). But I am thinking of artists who created genuine masterpieces in a large variety of formats. Bear in mind, I see even the greatest jazz artists as producing only 5-8 masterpieces of any sort in a long career. One artist instantly springs to my mind: McCoy Tyner. He has gone quiet again, but his output over his lengthy career is both prodigious and impressive in quality. I would point to these records (actually six) as indicative of creating masterpiece recording in virtually every format. Solo: Echoes of a Friend or Soliloquy Trio: Remembering John Quartet: The Real McCoy Quintet: 44th Street Suite Mid-size group: Expansions Big band: The Turning Point Of course, no one has to agree with my choices. What I'm really looking for are your own nominations: artist and specific recordings.

I have long enjoyed this one. It came out in the early or mid-80's. It's somewhat similar to George Winston's December, though I find Owen's record much more enjoyable. Not an easy record to find....for some odd reason.

Anyone with more thoughts on Dolphy's work with Trane? He is rather well-represented (finally) on the complete Village Vanguard sessions--though, if I recall correctly, there's no flute work there.

Some of the greatest Dolphy is with Mingus, including Mingus Presents Mingus: "Folks Forms" and "What Love?"

I've had some trouble getting into Out to Lunch. It clearly has some big-time admirers, so I need to keep listening. Count me as among those who truly enjoy Waldron's The Quest.

Yeah, I've really started grooving to Oliver Lake in the last couple of years.

I have had a renewed interest in Dolphy. I'm sure he is not everyone's cup of tea, but even so I'm sure most regret the early death of such a distinctive talent. I've always been interested in how he attracted the attention and brought into the bands of so many great figures of the day: Mingus, Trane, Oliver Nelson, George Russell, Max Roach, Ornette, Andrew Hill. Not to mention great players on his own records: Freddie Hubbard, Roy Haynes, Booker Little, Richard Davis, Tony Williams, etc. I had previously been into his sideman work, though I often found his playing rather strange and even uninviting--though, as I've said elsewhere, he was brilliant on flute. These days I'm looking more at Dolphy's work as leader. I'm impressed by Out There and Far Cry. Last Date, with European players, is rather good too. I should take a listen of Outward Bound. There must be hundreds of players influenced and inspired by Dolphy--most notably for the inside/outside approach and the ability to excel on several instruments. Your thoughts on Mr. Dolphy...

I do have Carl Allen's record...picked it up very cheap several years ago. Oh, I like Charles Lloyd a lot...records like Lift Every Voice and Rabo de Nube....saw him live 6 or 7 years ago and that was great too. Nice players around him, like the late great Billy Higgins, John Abercrombie, Jason Moran, and Geri Allen. I really like "Prayer" (duo with Abercrombie) and "There is a Balm in Gilead" (duo with Higgins).

I do like the work of Jerome Richardson...what I've heard of it. He is one of those guys who seemed to pop up on a lot of Prestige blowing sessions. Unrelated....seems like Organissimo has been around for quite a few years now. When did it start?

Maybe it's the rarity of the flute (in jazz) that makes it rather interesting to me. The first flute player I got to know was Eric Dolphy. Mingus was one of the first jazz artists I ever explored, and I seemed to find quite a bit of his work featuring Dolphy. Back then I thought Dolphy was making some of the weirdest sounds I ever heard on alto and bass clarinet. Of course, there is much weirder stuff than what he played, plus I've grown to appreciate his talent on these two instruments. But the flute drew me in from the very first moment. I'm still not sure anyone has surpassed Dolphy...maybe James Newton. My top three recommendations for Dolphy: "Meditations on Integration" (Great Concert of Mingus) "You Don't Know What Love Is" (Last Date) "Gazzelloni" (Out to Lunch) I've certainly enjoyed Newton, an under-sung giant. It's too bad he's been under the radar for many years now, and he seems to have shifted entirely to Classical. James Spaulding...another great player, but the flute was second to the main axe of alto. Many notable players out there, such as Roland Kirk, Lew Tabackin, Frank Wess, Talib Kibwe. Of course, you have those in a more popular vein, like Herbie Mann and Dave Valentin. Let's have a discussion on jazz flute.

Yeah, Lovano is a big fan. He had Blackwell on at least two records and did the tribute to him: "Message from Blackwell" (I think that's the title).

I do want to investigate Mary Lou Williams. I don't know the records by McCann and Ammons. I'll try to check into them. Seems like a lot of tenor players have that vibe going: Coltrane, Charles Lloyd, Billy Harper, Pharoah Sanders, and some of the work of David Murray.

Rod Stewart....my god, the thought alone destroys my Christmas spirit. I second the Jethro Tull album....it is absolutely first-rate. Almost half the tracks are instrumental.

I'm not all that interested in gospel in general, and there aren't too many gospel or hymn-based jazz records that I can really listen to all the way through, even instrumental--my preference over vocal. Of course, it depends on how you view "spiritual jazz." Many find much of Coltrane's music to be spiritual, and I would concur with that. Anyway, I have put together a couple of playlists of spiritual jazz, with Cyrus Chestnut and Charlie Haden figuring heavily. Indeed, Steal Away by Hank Jones and Charlie Haden may be the high water mark for me. But I also have Ellington, Monk, Charles Lloyd, Grant Green, Donald Byrd (the incredibly moving "Cristo Redentor"), Randy Weston, Arthur Blythe, and more. Of course, many jazz musicians (especially older ones) have a church background, so this stuff is bound to enter their professional music--sometimes directly, sometimes in a very subtle way. Any recommendations (CDs or individual pieces) are welcome.

Not to diss Jimmy Smith, but his hyped up style would not seem to be the most logical fit for Christmas music.