pryan

Those tapes would indeed be interesting to hear, if and when they do come out. Glad to hear that most people enjoyed having this one as AOTW. Thanks to everyone for their excellent input, as usual, and thanks to AfricaBrass, for selecting me to choose this week. Anyway, enough of the 'thank yous', I'm starting to feel like I'm on the Academy Awards....

Yeah, I agree with Soul Stream re: asking about his present band, recent albums, etc., at least as a 'starting point'. But I wouldn't hesitate asking him about those trumpeters, especially since you dig them so much, Rooster. Be sure to report your findings here, assuming you can chat with Mr. Hill.

What he said. Many happy returns, Jim, and a great debut CD for yourself and Organissimo.

Well, I'd have to disagree with you, Soul Stream, on a couple of points. While I can't comment on Bley's playing being 'overtly out' for the time, I don't think Sonny's playing is all that 'out'. Sure, he develops some motifs or ideas that are not of the usual hard-boppish variety that one may be used to, if one only had heard Rollins' playing of the mid to late fifties, but I think his playing displays a definite 'eye' toward his future work. The held high note at the end of 'Lover Man', for instance, kind of previews his technique that he used in the seventies and eighties, of really getting a high pitched tone or 'squeal' (BTW, that was a good insight, Jim, by comparing the 'squeals' of Jackie and Sonny, and that they both grew up in the same neighbourhood). I've noticed other stuff in his (Sonny's) playing on this date that surely previews his later albums. There was one point in one of the ballads (not sure which one), where Sonny played a motif that came up again in 'Cabin in the Sky', from his PLUS 3 album, also included on the Silver City 2-disc set. I like the contrasts between conceptions, it's not jarring but refreshing to hear the differences in each player's ideas, tone, etc. To me, if this date had been done five years earlier, it would've lost something. By the time this date was arranged, I think (just speculation here, no real facts, although there might be something in Eric Niesenson's [sp?] book) Sonny would have incorporated some of the 'new wave' ideas, particularly those of Ornette and Don Cherry (who, coincidentally would come to join Rollins' group, albeit for a relatively short time). That leads me to another point (well, a question actually): What to y'all think of the added three tunes at the end of the disc (for those of you who have the recent re-issue)? I actually enjoy them, but find it kind of strange why the producer would add those instead of, say, a couple tunes from the live date where Hawk appeared with Newk (although maybe that wasn't recorded, hard to believe, or it had to do with the rights, etc.). The liner notes say the tunes aren't an accurate portrayal of the band, due to the short timings of the tracks; still, I found it interesting to hear Cherry 'playing changes' on more standard tunes.

Jim, PM'd you re: your above post.

Chalk up another one for THE MIDNIGHT BLUES (mainly because it's the only Wynton disc that I own). I agree with John's assessment: too long and a serious lack of variety. A major 'sameness' to almost every tune. If I want to listen to something in this vein, I'll usually spin Roy Hargrove's MOMENT TO MOMENT, which has a similar lack of variety (although, admittedly not as bad as MB); the major difference is Roy's playing, which I dig FAR more than Wynton's.

Past couple of days (repeated listenings): Andrew Hill: DUSK Fats Navarro: Proper Box (disc 3) Coleman Hawkins: Proper Box (disc 2) Sonny Rollins: SONNY MEETS HAWK

If you click on the link provided in Brad's link, you can see for yourself. The bidding, with a little more than eight hours to go, is at about $20 US (the price is actually in British Pounds).

I must concur with Bruce - this is one great version of 'All the things...'. Bley's solo really stood out for me (not discounting the other solos one bit, mind you, they kill too), considering what MOST other pianists were into at that time (I know, a broad generalization to be sure), it still seems very fresh today. Or maybe it just does to me 'cuz I don't really have any of Bley's stuff. Also, I do hear some things that Bley does - both rythmically and harmonically - in Brad Mehldau's playing (coincidentally, Mehldau also does a trio version of 'All the things', on his ART OF THE TRIO, vol. 4 album; might be an interesting comparison). Mehldau does seem to take some of Bley's ideas much 'further', however. BTW, what's a good starting point in Bley's discography? I will also agree with Jim's comment that no one 'wins' the so-called cutting contest. These two masters are simply inspiring one another to even greater heights of improvisational expression, and the result is a delight for anyone caring to listen at even a cursory level. Close listenings, however, reveal INTENSE happenings. 'Yesterdays', for instance, is just so emotionally charged and seems to transport me to another place, not earthly, but elsewhere; I can't really put it into words, maybe it's just the tune, I don't know. That's all for now, more later perhaps.

Ditto. But, sometimes I forget to 'sleep' (as I tend to listen to tunes as I go to bed, or just fall asleep with the radio on) my system and it does get left on overnight. The improvement in sound thing (in leaving the system turned on) isn't really worth a try for me, because all I have is a mini-system in my bedroom anyway. Perhaps it's worth a try, though.

Damn, I just checked the 'upcoming releases' page on the Mosaic site and the estimated release date has been pushed back to mid-June. Oh well, it'll be worth the wait, I'm sure.

All the best, Chuck. And hopefully that ALL MUSIC disc will be out by my birthday...

Mainly straight-ahead stuff today; that'll change tommorow. Ike Quebec: IT MIGHT AS WELL BE SPRING Dizzy Gillespie: AT NEWPORT Thad Jones: Mosaic set (disc 1) Lonnie Smith: THINK Lee Morgan: SONIC BOOM

The Canadian dollar has been on the rise for a few weeks now, instigating (or at least giving me a reasonable excuse) my purchase of the Bunny Berigan Mosaic.

Yeah, I've seen the name too, Ed. I corresponded via e-mail with a Dave James for a while a couple of years back, but I haven't from him since. I believe the reason he stopped posting at the BNBB was because of a work "crackdown" or monitering of employee web-surfing. I think he's just a "lurker" here, if it's actually the same guy.

And don't forget the stuff w/ Pres on Savoy (new re-issue out last year of the Complete Savoy recordings), live and in the studio. Now that's some heavy shit!

Well, my usual source (brick and mortar) for music did not have this, unfortunately. Up, though, for anyone else who has been able to get it. Any comments, good or bad, are much appreciated.

I wonder if there will be any bonus tracks or 'complete' cuts from the original album. There are some obvious edits in some of the studio and live tracks on the original LP.

Am looking forward to the Verve re-issue. I've been on the lookout for stuff with Mitchell on it since hearing him on the Thad Jones Mosaic. I found a used LP of Al Grey's SNAP YOUR FINGERS (Argo) a short time ago and there's a couple of mighty fine Mitchell solos on that album. Not sure if that's the one you're talking about, Weizen. I don't know if it has been re-issued yet, but it should be. Hutcherson's also on it, while Donald Byrd and Herbie Hancock sit-in(?) with the band on a live date on side two. Worth searching for.

Thanks for posting that, Dmitry. Interesting that Lee and Rashaan went in and "took over" that talk show. I wonder if that was a big thing back then, or if similar protests occurred on a regular basis. It would be helpful to find out if their protest garnered any significant media attention, or if they were just dismissed as acting inapropriately. I guess if the show was broadcast live then more people would have known about it. However, if it was taped, then editing could essentially quash whatever kind of impact the protest intended. Funny how the executives or host agreed, almost instantly after the incident occurred, to invite Morgan's and Kirk's groups to play the show.

All exicited with Jim's link I checked out the page and found that I shared a birthday (12 October) with..... no one, jazz related. But I am sandwiched in between the birthdays of: 11 October Curtis Amy *1929 Mose Allison *1927 Art Blakey *1919 Lester Bowie *1941 Billy Higgins *1936 13 October Ray Brown *1926 Terry Gibbs *1924 Lee Konitz *1927 Pharoah Sanders *1940 Art Tatum *1909

Just broke the bank and put my pre-order in the post. Note to self: Next time a Mosaic comes out where you don't know anything about an artist, do not read a bio on said artist which greatly praises said artist's work. Seriously, though, if Satchmo named Bunny as his favorite trumpeter (as he did in a letter to Downbeat back in the 30s), how much higher praise can one get? Really looking forward to this.

While I don't know what's in the Brown Mosaic booklet, I have read Catalano's book and found it to be a competent bio. I learned a fair bit about Clifford that I hadn't already gleaned from other sources. That said, I have heard that there are some glaring errors/ommissions in the book. In fact I think it was mentioned on the old BB; unfortunately that info can no longer be obtained. Maybe someone else could elaborate a little more about the mistakes that occur. One anecdote I do recall from the book is a story about how Miles went down to hear Blakey's band rehearsing for the Birdland gig, heard Clifford, and joked that he might have to shoot him (Brownie), he was so good.

My username sort of follows the Jsngry pattern of logic. My first name, Paul, begins with a 'p', hence it appearing at the begining of the username (duh!). My last name, Ryan, is spelled out in full, thus deviating slightly from Jim's method. As for the etymological origins of my name, I've never really investigated that yet. I do, however, plan on taking an etymology course in the fall, as I've always been interested in that kind of stuff.

I was wondering the same thing myself and decided to check out AMG. Here's the link: Webster Young He seems to have recorded more as a sideman, mainly on Prestige dates. His album of Billie Holiday tunes looks pretty nice.