Harold_Z

Just get both. You can't go wrong. Both labels have an all star cast. The Verves have the advantage of better sound but a more shot out Billie. No matter - she still delivers the goods. The Columbias have a younger fresher Bilie, an all star cast, but the disadvantage of 30s and early 40s audio. No matter - she still delivers the goods. And don't forget the Commodores. Which are really my favorites.

Bottom line is we can speculate all we want but that ending still leaves it open for what ever may come along. It's fiction. Nobody really dies and if they do you can bring them back. I mean like it's 2022 and Tony lay in a coma for 16 years while Paulie took over the family. I'm being very sarcastic but it's really all about the bucks in the final analysis. Somebody decides they need the bucks and a few others agree - here it comes. I mean Godfather 3 or Rocky 22 ?

If I'm not mistaken "Portrait of Pee Wee" is included on "Swingin' With Pee Wee."

Yeah Chris - I bought mine in a supermarket near my home. I can't remember which chain but I'm going to ask relatives if they remember.

We had a thread on this some years back. Either on this board or the old Blue Note Board. The RCA Encyclopedia of Recorded Jazz was a budget series of 10" lps available in the late 50s. When I was about 10 or 11 years old I bought the whole set new for a whopping 49 Cents per lp. I still have them and they have been invaluable. The re-mastering is 50s RCA great and stands up well today. Lo and Behold...Amazon mp3 downloads has the whole shebang - listed as Encyclopedia of Recorded Jazz for a whopping $13.98. It's a great deal for those so inclined. Encyclopedia of Recorded Jazz

Never made this connection, but after listening to Trane's solo, I assume you're talking about the very opening phrase that mirrors what I think of as the "swinging bridge" melody of "La Fiesta." Has Chick ever acknowledged the link directly? Another example: Trane's "Like Sonny" is from a Sonny Rollins phrase -- Sonny plays it on "My Old Flame" (I think) from Kenny Dorham's "Jazz Contrasts." Correct. The opening phrase is what Chick used. I want to say he acknowledged it and I think he did but damned if I can remember where.

Chick Corea's La Fiesta is based on Trane's Someday My Prince Will Come solo.

I don't think as highly of the Arista material as I do of earlier Aretha. She remains a fantastic talent but I don't care for the arrangements, production, rhythm sections, etc as much. In all honesty I lost interest in almost all contemporary R&B around the time Aretha went to Arista. It all started to sound like an imitation of itself, but with less groove and freedom. The rhythm sections were tight but not spontaneous and in Aretha's case, she sounded to me like she was mailing it in. Maybe I just od'd on that type of thing and it was a case of me getting older and not digging the newer things, but in all honesty it seemed like most of my musician friends jumped ship a little before I did.

GA - The first one listed isn't the pre-Atlantic Columbia stuff. It's post-Atlantic (I guess Aretha went to Arista IIRC). Seeing that Sony logo could certainly lead one to believe that it's Columbia material. The second listing IS Columbia material.

It seems to be almost conventional wisdon that Aretha's Columbia recordings are somehow inferior to the later Atlantic recordings. Not true. They are different...there are a lot more covers and a lot more standards but over the years they have stood up extremely well. Atlantic may have known how to get a hit record out of Aretha (and the time was right for the Memphis or Southern Soul sound of Atlantic) but the Columbia recordings are very enjoyable to jazz oriented fans. At this stage of the game I probable listen to the Columbias more often then the Atlantics. I'm wouldn't like to do without either body of work.

I finally got a chance to listen to the first five or six tracks today. Loved it! Vic is ...Vic - which is to say great. There's no more like him coming down the line. The sound is fine. The tune selection is good. The rhythm section swings and Jim Galloway sounds terrific also. Anyone on the fence about this just get it. A thanks to Ted and Jim for making this available and I hope the sales meet your expectations. If you have more in the can (Vic did 90 minutes without playing Manhattan?) I'm buying.

The notes are by Ralph J. Gleason. Nothing is mentioned in reference to any of the titles.

Just to add I also dig the hell out of Brasil '66 and it's subsequent incarnations.

I LOVE magic. For some fun... The Reveal

IIRC that band had Max Kaminsky, Cutty Cutshall and Bob Wilber in it.

I think Sylvia Robinson talked him into it. I'm sure she did not contribute financially towards anything. AFAIK it's the only time he took a bassist on the road. For my part I'm glad to have worked with him.

I don't think it's electric bass on "Rough and Tumble" - but the fact that it's questionable points to the crux of the problem with this electric vs. upright BS. I'll put it in a nutshell - It's the player and the feel. Electric bass gets dumped on because so many of the players don't get a good jazz feel or a good walk. In fact - it's not the ax - it's the player. Cranshaw has got the feel and many guys have it. Going back in the day Jamerson had it, Bob Bushnell and Jimmy Lewis had it. Lots more.

I'm for the eight disc also. Bird's playing is always interesting and often great - even on incomplete alternates.

It had to be 1976 or 1977 and as I said I wasn't with him long. He was a nice guy but really didn't want a bass player. PLUS it was an extra salary. One of the gigs was at the Mozambique in Detroit.

I think he was just shopping for a label. I worked with him briefly after his All Platinum LP. Sylvia Robinson insisted he take a bass player on the gig to do the funk tunes. Frank Prescod had done the lp but was unavailable for the gigs and I ended up with the gig. Didn't last long. McDuff didn't NEED a bass player and probably realized Sylvia was jive. I played like every other tune - I guess the funk charts from the lp and layed out while McDuff did his real thing. That being said it was a gas to just sit next to the guy and watch him play. The Cadet lps came later and they were the real thing. Two buddies of mine were on board then - Ronnie Davis and Vinnie Corrao.

Naw..All Platinum from the mid 70's, altho Sugar Hill IS the same company.

Atlantic is probably one of Brother Jack's lows but there the worst was definitely the lp he did for All Platinum.

Nothing but bad experiences lending out lps. The worst being when I lent a pristine copy of Unity to a buddy who promptly headed to Canada to avoid the draft and took my record with him. When her arrived back ten years later and got in touch I brought up the subject early. He gave me the record back beat to shit. Eventually I found another copy and of course scored the Larry Young Mosaic when that came available. Moral of story - as MartyJazz said - I make a copy when a friend asks for something.

I have an Atlantic lp 81760 "Guitar Slim Atco Sessions" that includes all four tracks mentioned. The personnel listings for this are "The Joe Morris Band; Joe Morris Trpt, Remainder Unknown." So it's great to get the personnel here - especially considering who's on this date.

Agreed. I'm a fan of all Jimmy's Columbia records.