John Tapscott

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.

I don't think so. I checked the list a couple of times and didn't see it. I'll check again, but one of the reasons I chose it was because it seems we've not done an Oliver Nelson record before. Plus I've detected a bit of ambivalence among some listers about Oliver and I thought this recording might kick start a discussion about him (including some of his other recordings which may not scale the heights of this one). Maybe I should have chosen a lesser known O.N. CD, but decided to go with this one, which most people probably have and would be easy to get, if you don't.

I think Oliver is worthy of an AOTW; so why not one of his best? (IMHO). Thanks Michael, for the thread on how to post an image.

OK, I'm up for album of the week Oct 23-29 and want to put a picture of the album cover up with my choice. I know many of you post album and CD covers often on various threads, but I'll admit that I just don't know how to do it. A how-to would be greatly appreciated.

Almost anything with Wynton Kelly puts me in a good frame of mind.

Charlie Mariano on Mingus' Black Saint and Sinner Lady Frank Rosolino on Stan Kenton's New Concepts of Artistry in Rhythm

Just from the track listing it looks like it's a rip-off of the recent Columbia reissues. Why would any one bother with it? Worth zero in my estimation.

Thanks everyone, for the kind birthday wishes. 50 is too old to have a mid-life crisis, but not too young to start thinking of retirement (in my case, anywhere from 5 to 15 years from now, depending on a whole lot of factors). Anyway, Organissimo is a great place to hang out! Now off to my local CD store to see if they have Monk/Trane at Carnegie and the Trane Half Note CD's. Not very likely, but it's a good excuse to browse.

I've listened to this CD six more times since my initial spin. Hey, it's only 37 min. per spin and when it ends, it leaves you hanging, and feeling like there should be more. But I've really warmed up to this recording. It always takes me a bit of time to get used to Kirk's sound, but when I do, I realize what a brilliant musician he was. No question, this is a great album. I presume the great cover photo was taken outside of the Van Gelder studio. Wonder if it's still like that there or whether the green woods have been taken over by urban sprawl? Not that I'm a tree hugger, but that's a lovely setting. A real loss if it's gone.

Ordered a couple of new Steeplechase CD's Vincent Gardner Quintet - Elbow Room Jed Levy Quintet - Mood Ellington Hoping that I may find the Monk/Trane Carnegie CD and Trane Half Note CD at my local CD shop later today. The manager tries to get things like this in for me, (and for himself since he is a jazz fan, too) but distribution of jazz CD's in Canada is notoriously spotty and slow.

Baseball's version of the "tuck" rule?

There was obviously no doubt in the catcher's mind. If there had been, I'm sure he would have tagged him. You see that happen in nearly every game at some point. If there was doubt in the ump's mind, he should have called "No catch" rather than signalling third strike (or in addition to calling third strike). The catcher can hardly know what's on the umpire's mind if the ump doesn't speak up. Go Angels!

One Jordan CD I like is the Big Band date, "Down Through the Years" (Milestone). Now it has some problems for sure. The band is pretty loose and the recording quality mediocre (the trumpet section is way down in the mix). Yet the rhythm section is smokin' (Ronnie Mathews, David Williams, and Vernel Fournier); the soloists esp. Jordan and Dizzy Reece are in excellent form, and the band swings hard. Despite the problems, the whole thing somehow comes together, and whenever I play it, it's a recording I'm glad I've heard.

An absolutely ridiculous call. In the replays I saw, I sure didn't see any movement on the ball. In fact, the replays show the ball was caught cleanly. I have no particular favorite in this Series, but now I'm rooting for the Angels. I also hope that from now on in this series, whenever an Angel batter strikes out, he immediately takes off for first base, no matter where the ball is caught!

DAMMIT, ditto. I was going to wait until my funds were in order. But after reading that, I'm picking this up today (along with Jackie Mac's CONSEQUENCE). ←

Just got this today and listened to it. A fine, swinging CD, which I will revisit for some more spins tomorrow. On first listen "Raoul" is my favorite track. Nice sounding recording too. There's some "space" between the instruments yet it sounds tight, too. Not quite as "up front" or "in your face" as many Van Gelder recordings (though maybe I've been listening to too many RVG's lately).