John Tapscott

Carl Saunders - "Can You Dig Being Dug? - a new one and a very good one!

Male barber. I use the same one regularly. Nothing complicated, just a tidy haircut every 3-4 weeks. I'd rather spend the extra money for a stylist on a jazz CD.

Just got "In My Time" today. Better IMHO, than "New York, New Sound". The band and the sound engineer sound like they were really ready this time around.

T.O. is an idiot, no doubt, and he should have kept his mouth shut and collected his salary. But I honestly began wondering last night if he didn't have a point when he said the problem with Philly was at QB. (Not that I think Favre is the answer by any means- he's pretty much done in my view). But I watched the first three quarters last night and though the Eagles were leading at that point, I didn't think McNabb looked all that impressive. He didn't seem to be playing with a lot of confidence and he wasn't as dominating as a championship quarterback must be, especially at home. The Eagles have a lot of problems.

I like Fusco, too, but he's defintely 50+ having playing with the Jets more than 30 years ago. I also like Julius Tolentino, who has a new CD out on Sharp Nine. You know, I liked Christopher Hollyday a lot, too. As for what happened to him it seems he now lives in San Diego where he's a jazz educator. He's also on a new CD by trombonist Scott Kyle, which I have just ordered from Cdbaby.com. (The Hollyday info. is contained in the blurb for this CD on the site).

Well, I differ from Lon on the Nelson material. What I have of it makes me want to hear all of it. To me Oliver is a funny big band writer. I've heard stuff of his (for example, on the Verve Jazz Masters compilation) which is really incredible and whets my appetite for more, and other stuff which seems a bit (hate to use the word) lazy, where it seems he could have done much more (the Jimmy Smith and the Live from Los Angeles dates) are like that. I'll probably get it the Nelson, though it won't be a priority. Too much big band stuff from Mosaic? No, not at all. In fact, I wish they would do Woody Herman's '62-'64 Philips dates. Fabulous music.

And now for a change - This is a great set, not to be overlooked!

Disc 1

Had this one on vinyl many years ago. Picked up the Bluebird CD edition today. I'm really looking forward to hearing this one again and checking out what people think of it.

Happy Birthday and may a few Conns come your way today!

It's hard to imagine anyone beating the Colts this year. They could well be the first undefeated team since the Dolphins. To be able to handle Pats like that on the road is pretty impressive. Injuries notwithstanding, the Super Bowl champs should have been up for last nights game, but they seemed pretty flat. I'm always amazed at how well Manning avoids the pass rush, not by scrambling running around like Michael Vick does, but with those little stutter steps, which keep him moving all the time, and just out of the defender's reach. It's fun to watch. I also detect a better all round team focus on the Colts this year. BTW, I figure Owens is wrong when he says the Eagles would be better off with Favre. To me, it looks as if Favre is playing in a fog this year. Has GB declined that much as a team, or is Favre himself really at the end of the line?

Walt Wesikopf deserves a listen. His latest CD on Criss Cross with Andy Fusco is a real good one. Also, there's a guy up here in Canada named Mike Murley, around 40, and take my word for it, this guy is a tremendous tenor player. Do a search and grab some of his CD's. You won't be disappointed. If he lived in the States, he'd be a big deal, guaranteed.

That's a very good question. I haven't heard the new one, but I hope it's an improvement on "New York, New Sound", which is probably the CD David Weiss was referring to. That one could have been so good but fell flat, in my opinion, especially in sound quality. Gerald's MAMA and Discovery CD's are better, IMO.

That's right. My parents and grandparents were big Welk fans and I often heard the program in the background when I was a kid (wishing the program would soon be over and we could switch to the hockey game). Those were the days of 1 TV per household. But Welk had some excellent jazz musicians in the band who could really play when they were let loose. One guy was a trombonist by the name of Bob Havens, who played a Teagarden-inspired horn as well as anyone. Also two jazz clarinet players - Peanuts Hucko and Henry Cuesta, plus of course, drummer Paul Humphries. I'm sure there were others I can't name. I was surprised to read the earlier posting about Welk's alleged tightness with the dollar. I thought the opposite was true - that he paid very well, which was the reason he could get and keep top-rate people for decades.

I read somewhere that Welk really liked Hodges' playing and offered him big $$$$$ to join his orginization, but Johnny decided to stay with Ellington and continue complaining about the big $$$ he was getting there.

Thanks, Paul. I can see why the trumpets might like to play the chart, as it gives them a break from all the hard-blowing stuff. I have to tell you in all honesty, that from a jazz listeners' perspective (especially one who values hard-driving swing), this is not a very satisfying piece. It's reported that Stravinsky spent many nights listening to the Herd in person. But to me it sounds like he never really got what the Herd was all about, or jazz in general, for that matter. I have to tell you that when I'm listening to the studio Ebony on disc (and I've given it a number of spins), I feel a tremendous sense of relief when the chart finishes and the band roars into Sidewalks of Cuba. Of course, it was a big deal because Stravinsky did this piece for Herman for free. But several months after the Carnegie performance, Stravinsky was low on funds and his manger suggested to Woody that he might pay Igor for the chart, which Herman apparently did.

to the Uptown version; also Ray Bryant's solo piano romp on Montreux '77 (Pablo).

Finally got this last night. The store manager was raving about it, saying how they had opened a copy in the store and had been playing it all day. So I left the store on a real high, very much looking forward to hearing it. Well, maybe I was just weary after along week, but somehow my first listen left me slightly underwhelmed. Fine sound, very good 'Trane, swinging rhythm section, some very interesting playing by Monk, and I definitely feel the need to listen to this one some more. And I agree it's a very interesting historical find. But so far, I'm missing something. I don't know where the thread is about Monk/Trane v. Gillespie/Parker, but my vote so far would definitely go to the Uptown release for historical significance and sheer excitement.

Well, for anyone who lives in Southern Ontario hockey is definitely the main game in town. And of course, the Toronto Maple Leafs are the main story, pretty much 24/7, though they haven't won the Stanley Cup since 1967. Yes, I'm glad it's back, though I'm not keen on all the rule changes. When a player's stick makes any kind of contact now with another player, he's gone for a two-minute penalty. It used to be that there would be a battle for position between the forwards and defensemen in front of the net. And that was often good to watch, when it didn't degenerate into the dirty stuff. Now the forwards are pretty much allowed to stand around the front of the crease at will. The defensemen don't have a clue what to do anymore. And the goalies are too restricted in how they can play the puck. I like the two-line pass, though. I agree with Dave James' point about hockey's place among the four major sports. I'll expand on it and say it is by far my favorite sport to watch with the sounded muted and jazz playing on the headphones.

I could have been one of those people, but I'm not prepared to assert that "Straight Ahead" is better. I just like it more and listen to it a lot more. "The Blues And The Abstract Truth" has long been a classic album. I've owned a copy for almost 35 years and can play it in my head. I came upon "Straight Ahead" somewhat later, and I was rather surprised, actually, when I eventually grooved with it even more than with its much more popular and heralded predecessor (Both albums were recorded within a week or two of eachother, as I recall). The Nelson-Dolphy front line (sometimes hand-in-glove, other times displaying piquant contrasts, always sympathetic-approaching-telepathic) is backed by Richard Wyands, George Duvivier, and (again) Roy Haynes; all play beautifully together. The tunes and solos are just as compelling to me, the atmosphere warmer and more intimate and soulful (to my soul). I've never warmed up to that other Nelson-Dolphy collaboration, "Screamin' The Blues", BTW, FWIW, etc. ← Listened to "Straight Ahead" last night. It is a very fine album. One could argue that it actually provides a better setting than BAT for Nelson and Dolphy to stretch out as soloists. They both play very well, and I especially like Dolphy's bass clarinet work. In fact, I think I actually prefer Dolphy's playing on Straight Ahead and Screamin' the Blues to his playing on BAT. HOWEVER, as a total package and musical listening expereince, I think BAT is a significant step ahead of SA. For one thing, the extra horns provide much greater opportunity for ensemble arranging and playing, which to me is a great highlight of BAT. I've been listening to those inner voicings and lines that Jim spoke of, and wow, they are incredible. The writing on Cascades is quite astonishing in that regard. And not to take anything away from Richard Wyands who is a fine player, but Bill Evans is well, Bill Evans, and he brings what only he can bring to a session. I do agree that a great deal of the deep "vibe" of this session is due to his presence. And BAT is so well balanced, in terms of memorable compositions, soloists, and arranged sections. It's a very thoughtful album, but never loses a sense of spontaniety and adventure. In an AMG review of BAT Scott Yanow says that Dolphy cuts all the other soloists. I don't agree with that. I believe all the soloists play well, and the solo that sticks in my mind is Nelson's on "Stolen Moments." And Freddie, man oh man! If I were a trumpet player, his playing on this date would be sending me back to the 'shed in a hurry (or maybe into retirement).

Disc 1

After I give the AOTW a listen, I'll going to give this one a spin. Not in the same league, of course, but interesting enough in its own right.

It's a very nice session. You can safely yield to the temptation.

Sad news indeed. What a voice. R.I.P. Shirley.