John Tapscott

The Powell is excellent, exceeding my expectations, actually. Bud is in top form, even if it is '62. Decent sound quality, very listenable. Highly recommended. The Pepper is interesting too, though the sound quality is not as good (Art is decently recorded, though). But it's an interesting mix of "old" Art and "new" Art. In fact, it's the most "old-style" Art I've heard on a recording this late in his career. By way of comparison I would consider the VV sides recorded right around this time almost all "new" Art. It's too bad the rhythm section on this one is not recorded better, because it's as good as any rhythm section Art ever recorded with and better than most (and I'm not just flying the Canadian flag here, this was truly a world-class section).

Reminded of this one by Brownie's post # 49 above Surprising photo. Wonder if Keith ripped the photographer?

Just ordered one. Will let you know. Looks like a good one for bop fans!

Nice article here: http://www.jazzwax.com/2012/09/bill-evans-carnegie-hall-1976.html Comprehensive website here: http://billevans.nl/ The more I read about Bill Evans and his tortured life (obviously much of it self-imposed), the more I am amazed that he was able to function as well as he did or live as long as he did. It's frightening.

Yeah, they did it on one of two days in the whole year when there is no wind in the windy city. Well, I see the "Other VV" tapes on a CD set, (lower right quadrant), so along with the LP's I think he's got it all. Also no "One Down, One Up, Live at the Half Note," but it's likely on one of the LP's. He doesn't look like one of these guys who has to have everything on CD as well as LP.

Looking forward to these, especially the Pepper. Thanks.

Well, it's not showing up right now on my computer , but "sorry" was/is a hyperlink takes you to one of those "Make $700 a Day Working at Home" scam sites.

So that's how Chuck raises funds to finance all those Nessa releases!

Very impressive. Yours, I presume.

As for me and my house - what Peter said.

Bill: # 13 - OK then, Alvin G! You know, in the Zoot and Al days I find them surprisngly hard to tell apart sometimes. Later on in their careers, it was easier to tell them apart. Can you give a day or two Bill. I'd like to have another go at the ones I didn't get.

Didn't read the thread but listened first, as it just arrived 2 days ago. Initial impressions #1 No clue, stuggling with that one, should know this player. # 2 yes, the VJO, Holman's arrangement of Just Freinds. I recognized the arranger's style first, then the band. # 3 My first guess was Eldridge. I think # 4 is Tubby Hayes (at first, I thought it might be his British disciple Simon Spillett). I think it's Tubby, though, a little too polished for Simon. #5 sounds like Lovano to me, is that from the Dameron CD? #6 - don't know. #7 is the John Fedchock NY BB. #8 recognized Chaloff. # 9 recognized Gonsalves. #10 - don't know # 11 - don't know. #12 yes, that's Eric A. and Grant S. - - this is my favorite track in the whole BFT. 13 - recognize Zoot - don't know the band. 14. Sounds like Chet to me - Is that with the Italian group? Good piano player, bad piano.

Have a great birthday, Dan!

Discs 1 & 2. I've had some issues with these live performances in the past, but this time through, I'm loving them! Great stuff.

I second that. It's a wonderful set.

Always wondered if this photo was taken inside Carnegie Hall (never been there myself). If not I'll delete the post.

I have the LP. It's a great date IMO. And now with a live set added, I'm all in on this one.

How far to the left does it go, Ken? When my wife tells me I have too many recordings, I'm going to show this photo. "See dear, I'm not nearly as bad as others...!"

Glad I'm not the only one with this problem. My CD's are filed by musician A-Z, but in about 6 or 7 sections of A-Z. So if I want to listen to a particular CD, and don't immediately remember which section, I can be on a bit of a hunt. Fortunately, all my recordings are together in one corner of the house (basement). My wife is extremely happy with this arrangement. And at least all my LP's are together in the same place, A-Z. Anyway, to answer to question - Dave Holland. Put on the BB CD "What Goes Around" this A.M. for the first time in years. What a fabulous recording. I don't have too many other Holland recordings, but I'm going to dig into them all.

Actually, one heard and seen - from the Jazz Icons 4 Bonus DVD Blue Lou - Coleman Hawkins, Benny Carter,Teddy Wilson, Bob Cranshaw, Louis Bellson - London, England, Dec. 1, 1966. Very good late-period Hawkins.

Wrong on several accounts - sorry. What you say might be true (and probably is) for all those who are only prepared to consider it jazz if it was produced (stylistically speaking) post-Electric Miles or maybe post-Miles Davis Quintet or (at the very, very widest) post-Bird. SWING is quite accessible and a lot (waaaay past Glenn Miller) is comparatively "simple", danceable and just plain fun (or would you deny that Swing is jazz?). Not to mention "classic jazz" (popularly summarized as "Dixieland"). And Swing therefore can serve as an entrance door to subsequent styles of jazz as it allows people to find their way GRADUALLY in those areas of jazz as and when they are prepared to listen and explore that music by way of musical CONTINUTY (which does exist). I've witnessed several cases myself where this has worked. This still concerns only a minority but MANY more than the current audience of what many (self-proclaimed) "progressive" fans of jazz consider outright jazz. Apart from music of the swing era or current bands playing in that idiom ("recreations" or not), many of the less punk-ish "Neo-Swing" bands of the 90s onwards would have served that bill of being an introductory card to jazz very well and yet most "progressive" jazz fans saw fit to diss those bands as unfit for any consideration because in their exes they were not even remotely linked to jazz. Probably because to those "progressive" jazz fans anything from the swing era (stylistically speaking) is just old hat and not "jazz" enough. Your loss, this snobbish attitude ... So if attitudes like this mean that jazz (as understood by those who consider themselves "real" jazz fans) remains limited to far-out, weird, screwy "noise" (which is how many non-jazz listeners would perceive those styles of jazz at their first enounter) then you are slamming the door in the face of those who'd be willing to try and increase the jazz audience. Your loss again ... Sorry - I agree with Wesbed. I think he's right on.