Milestones

Regarding #8, it's always wonderful to hear Sonny Rollins from this period. Earl Coleman is OK; the track is pleasant enough.

I have been checking out Bob Mintzer lately. I had a thread going on The Hudson Project, which I greatly enjoyed. This is my first listen of one of his big band albums, and it's a nice effort all the way around.

Evans was clearly important, but I imagine there are other reasons. It's standard for artists to perform old (and even relatively new) tunes with partially and sometimes totally different bands. Look at all the versions of "So What" by the Second Great Quintet (or the quintet with George Coleman).

I have been listening to Kind of Blue and reading up on it as well. It is properly one of the most discussed albums of all time. I'm thinking about the many releases of Miles in concert, especially from the early 60's, and it seems to me that Miles never gave live performances of three of the tracks: "Freddie Freeloader," "Blue in Green," and "Flamenco Sketches." It's a bit odd, given that "Blue in Green" has been covered by many artists and "Flamenco" is, to my ears, among Miles' greatest tracks ever. I have not looked too hard to see if it's really true that these three tracks were not in the live repertoire; I'm going by the extensive amount of Miles Davis in my collection. But if not, it seems to say something about how unique Kind of Blue was/is.

Sad news. I Imagine she must have been well up there in years. It seems fitting she would die in Charles Mingus' centennial year.

I really enjoy the combination of Tyner and Hutcherson. There was one with only the two players--the relatively obscure Manhattan Moods. I think there were just two in the quartet format: Time for Tyner and (much later) Land of Giants. Hutch appeared a few times in larger Tyner groups.

I always point to "If You Only Knew" as evidence that Oscar could and did play beautifully. Not a hint of the vulgarity so many are harping on. There are several versions; I think the best is on the Pablo album, Live.

We will now discuss jazz performances on Sesame Street.

The average listener would certainly prefer Bill Evans over Oscar Peterson when it comes to "Waltz for Debby." But what about Oscar's duo record with Ella from 1975?

I have enjoyed what I've heard of Booker Little, and I'm inclined to think he would have turned into a major figure had he not died at the ridiculously young age of 23. I have heard him quite a bit with Max Roach and of course the Five Spot concert with Dolphy, which means he was part of some serious jazz history. Still, I don't really think of individual performances. I'm looking for folks to list or talk about some remarkable and/or expressive Booker Little solos. Thanks.

If you have not heard pieces where Peterson plays with delicacy and subtlety, then you have not heard a lot of Peterson. Those pieces are out there, and it's not like they are 1% of his output.

His practice and warming up sound similar to Coltrane!

He's eclectic for sure, and for me that's a huge part of the appeal. On the other hand, Pat doesn't sound quite as fresh these days. It's not like Side-Eye is such an innovation, and he seems more reliant on playing older music. Nothing wrong with that. Almost all musicians are largely doing that by the time they reach his age (or long before). Metheny is eminently listenable, and one of my misfortunes is that I have never attended one of his concerts. So the next album will feature all new material?

My go-to records for Joey are Live at Yoshi's with Pat Martino and McLaughlin's After the Rain (which has Elvin on drums). Guitar/organ/drums doesn't get any better. Concerning his work as a leader, I favor Reboppin'--a generous 14 tracks and covers of Miles, Trane, Monk, Shorter, Silver, plus originals. You'll also hear his trumpet playing. Put it on a blindfold test and most would guess it's Miles.

They are worth hearing, though they strike me as inconsistent. Some of the performances just don't work very well, but there are some great ones: "Once Upon a Time," "I'm a Fool to Want You," "That Lucky Old Sun."

Bob is so expressive on "Once Upon a Time" from just a few years ago. I never thought he could do a vocal like that, especially so late in his life.

Dylan is almost always interesting to listen to, and often he is quite moving as a vocalist. And since I don't care for opera, I'll always take Dylan over Caruso.

More evidence for those who say Reed couldn't sing. I would probably agree, but in rock (and punk and rap) music you don't necessarily need even modest singing ability. You do need a distinctive style, and Lou certainly had that in his best work. His voice, for being the lead, is unusually low in the mix.

Lou Reed is really in there? About all I can say is that this is a bunch of guys who can't sing.

I'm a bit intrigued by the Ron Carter connection. Cobham was on quite a few of Carter's albums in the 70s, and they appeared together on several CTI section. More recently, they can be found on several Donald Harrison records.

I had not known Cobham was on Easy Walker--I guess just the bonus tracks. It's interesting that his early work seemed to in essentially straight-ahead jazz settings, Silver being another case. But there doesn't seem to be a lot of it.

TTK, I'm almost amazed by the similarities of our early purchases. I had some Brubeck in there, but not much. I went heavy on Miles, Trane, McLaughlin, Mingus, Hancock, Wes, Monk (but different titles from yours). I didn't discover Randy Weston, a big favorite, until about 1990--and his early stuff quite a bit later. We are probably about the same age (I was born in 1960), or maybe you are a bit younger. But I didn't develop my interest in jazz until my third year of college.

For me, it was Bitches Brew. That's a great one for a start. I pretty much followed the Miles tree, both the fusion end (such as the Inner Mounting Flame and his own In a Silent Way), but also moving on to Kind of Blue, A Love Supreme, Bill Evans, Sonny Rollins, etc. Also soon began to listen to Bird and Dizzy to hear the start of the music that has influenced so much of jazz that has existed since then. Fusion had an important role in the early days, but soon became a minor interest...and remains so.

Billy Cobham is someone I’d nearly forgotten about, which is a crying shame given how he totally floored me when I first heard him. He was on The Inner Mounting Flame, the great first Mahavishnu record and one of the first jazz albums I ever owned. It was, and has remained, a perfect record. I was coming from rock music, and here was jazz-rock fusion at super high voltage. As far as I was concerned, McLaughlin shredded every rock guitarist I’d ever heard, including Hendrix. He’s an all-time virtuoso of the six-string (sometimes twelve-string back then), and I was glad to hear him return to the Mahavishnu style in 4th Dimension decades later. But Billy Cobham…man, he played ferociously. He just had that total connection with McLaughlin. I can’t think of another guitarist/drummer who connected and played with that kind of fire that hits you right in the gut and in the soul. Simply awesome. I have followed McLaughlin ever since, but Cobham not so much. Of course, he’s brilliant with Miles on Jack Johnson (with McLaughlin!), and then there’s Coryell’s Spaces (with McLaughlin!). I’m aware of some of Cobham’s early fusion records as a leader, usually with Abercrombie in his early years before becoming a leader. They sound pretty good (through some sampling), and I am most intrigued by Total Eclipse. But it’s interesting to hear Cobham on some Horace Silver albums, on several CTI records, on Tyner’s Fly With The Wind, and much later with Donald Harrison (sounding like a different and certainly more subtle drummer). Some real pleasure on all of these records. Early in my love of jazz, I put a lot of attention on the drummers: Tony Williams, Elvin, Jack DeJohnette, Max Roach, Art Blakey. While Billy Cobham is not really a leader like those drummers have been, he’s right up there as a player. I will be listening to his work a LOT!

So the last track is a Hodges record? That's about as Dukish as possible without Duke being there. Or does he take the piano chair while Hodges is credited as leader?