John Tapscott

There is no logical reason. I like 'em both, though I listen to Oscar more frequently. To me Oscar is the more refined and comprehensive pianist. Just listening now to Oscar's "Exclusively for My Friends Set". That is dam# good stuff and if a person can't hear it, well, Ok...I can't imagine Gene Harris doing the stuff Oscar does on this set. Still, I like Gene Harris.

Probably mentioned somewhere above Jesper Thilo

I share Peter's opinion. IMHO some of Oscar's most enjoyable playing came after he recovered (actually he never really recovered ) from the devastating stroke he suffered in '93. It basically robbed him of most of the use of his left hand. And in his post stroke playing there is very little glibness or flashiness, just an artist struggling with his limitations, adjusting to the new reality and emerging triumphantly. Oscar's playing after he got back to it sometime in '94 is to me the mark of a real artist, going deep, not relying on technique so much but his innate musicality which of course, was there all along, but sometimes masked by his overwhelming facility.

Well, I didn't mind the sound too much, but I didn't like the "mix" very much especially listening with headphones. The bass is hard left (and too prominent;) drums to the right; Barry perhaps slightly under-recorded in the center. It doesn't gel particularly well. Maybe it sounds better on speakers; I'll give it a try.

Steve Kaldestad

Perhaps a little less complicated. John suffered a heart attack in Oct. 73 and left the band. Mary and Kim had hooked up in their months on the band - 'tis true, and a pregnancy resulted. With John off the band Kenton fired them both (actually I think Shearer did the hiring and firing) , when they were caught holding hands on the bandstand at a dance gig. (All this is in Michael Sparke's book). Neither was on the Kenton Band I saw in Dec. 73. I believe they subsequently got married which was still the thing to do in '73 under the circumstances. Both Kim and Mary went on to careers in performance and music education though I don't think they're still married. Both are fine musicians and jazz soloists. John rejoined the band for a spell in '74 but his heart couldn't take the strain and he was replaced by the altoist you named above - Tony Campise, probably the most "avant-garde" musician Kenton ever employed.

Yep. Park was Kenton's lead alto and soloist in '73. He had to leave because of heart problems. He can be heard on all the Kenton CD's from '73 (including a multitude of bootlegs). He had many solos. I have that one record he made and to me he sounds more like Cannonball on that record than he did with Kenton. Actually he might have been a little more adventurous with the big band. Apparently he was going to appear on a Stan Getz record but before it could happen he died in '79 at the age of 45. His son Kim Park is a saxophonist as well and nearly as good as his father. Speaking of Canadian players we shouldn't overlook tenor man Kirk MacDonald. Another tenor player who I like is Pete Gallio from Texas. Kirk and Pete are actually quite similar - both strong Coltrane guys. Speaking of Coltrane guys - Pat LaBarbera. And did anyone mention Grant Stewart?

Yeah, tell me about it (the exchange rate that is). There are four Mosaic must-have sets on my list and this is one of them. None of them are running low and I'll have to wait a bit before getting any of them.

Cootie Williams. Great, great trumpet player in his prime and with the Duke. He's terrifically good on that 1932-40 Ellington Big Band Mosaic set. But man oh, man his last few years with the Duke. What a decline. . After he played the solo on "A Train" he basically sat there for the rest of the night (actually separated from the rest of the trumpet section.) Chops pretty much shot, I guess. And even in 1971 he was only 60, but he looked and sounded much older. As someone said, he sounded "ancient."

Bought this on the recent shipping sale. Just finishing up Disc 7. Amazingly good music. Arguably the best Mosaic set I own (and I have some dandies).

I enjoy some of Lovano's recordings more than others (and I don't have a complete set of them by any means), but I fully agree with your first sentence. Very friendly and helpful. When the pen I had wouldn't mark on the booklet of the CD I brought him to sign (I think it was Rush Hour with a glossy insert), Lovano himself went off to find a pen that would work, and found one! The concert I saw was just Lovano, Dennis Irwin and Willie Jones III. Two hours of just tenor trio with a short intermission. One of the finest concerts I've ever attended and honestly Lovano sounds way better live than on record.

Ellington Small Groups on its way here. Hope it's OK.

Yes, yes, I know all the reservations about Oscar and I sometimes share some of them. But Daahoud from the Opera House is just outstanding IMHO. Oscar at his best without any of the negative stuff. And very well recorded. Much better than the more celebrated Live at the Shakespearian Festival.

Track 8 - Jim McNeely's "Off the Cuff" - an outstanding baritone improv

oh, shi+ (in a good way, I think)

Gee, thanks for the reminder. 30 years ago. Man! The Brooks was the first Mosaic I ever purchased.

IMHO the absolute peak of aggressive (but still under tight control) big band jazz. This particular Rich band had a special name: Killer Force. In fact, the musicians would huddle just before hitting the stage, raise arms in the air and yell in unison - "KILL." They did, though of course, not to everyone's taste. I liked it myself, a lot.

These two should fill the bill nicely for almost over-the-top aggressive big band jazz. My ears bleed after listening to these. Whew! (I see jhoots mentioned Tolliver above).

I think this will be a fine set. I have several Beehive recordings and enjoy them all. I think Curtis Fuller's "Fire and Filigree" is an under-rated gem. But a big hit, financially. I didn't realize it was going to be a 12 CD set; rather I thought it was going to be 2 6 CD sets.

For some reason, this came to mind as I watched and listened. Yes, rather more hopeful than I had expected. Things were looking up for everyone, it seemed, except for Betty of course.

To answer the question posed by DB the answer turned out to be "Not really." Chris Connor made some nice records with the Kenton Band ("All About Ronnie" a.o.), but after 6 months she decided to go out as a single and by Sept. '53 Christy joined the band again for the European tour.