John Tapscott

I think the Montreal Bistro is still in business and usually has good jazz. (Yes I know it's Toronto, but it's called, for some reason,the "Montreal" Bistro). One good thing is that these clubs, though not side by side, are not all that far apart, either. Reasonable walking distance. Also check out the record stores on Yonge Street (again, not all that far away), Sam's and HMV.

From what I've heard of Woody's singing, I would say "No." I don't think it changed all that much throughout his entire career, though his voice did become deeper and perhaps more raspy with age. What you've heard is pretty much what you always get. I rather like Herman's vocals, though not enough to purchase the set for the vocals alone. Surprisngly, I don't think Herman's singing was so much of an ego thing as a commercial thing (he was a shy and retiring man off the stage). Even in the swing era, big bands couldn't make it on the basis of hot jazz alone. They needed their vocal hits for finanicial viability. I think you would probably be satisfied with the recent 2 disc compilation on Columbia, "Blowin' Up a Storm," which concentrates on the well-known big band charts from the Mosaic set. It's a good compilation with good sound, though the liners could have been a bit more informative.

Perhaps so they can make numerous visits to the "BABE" thread without being noticed. (Not that I ever go there myself, of course, I'm here strictly for the jazz talk).

Hey Berigan, replace those hot dogs with Twinkies and I think this company is back in business!

What's the big deal about this?This is no shocking revelation about OP. It could probably be said about 95% + of working musicians. I bet any fan (not a sideman), but fan who travelled with a musician for a week and heard him/her play either a concert or 3 sets a night would soon know where to listen for all the "tricks". You could probably name the set list, know in general terms what each musician in the group would play and when, know where all the solos are, how long they would be, etc. etc. etc. Surely no one belives that every time a jazz musician gets up on stage, he/she plays something new and original that they've never played before and worked on beforehand. Not to put him down at all, but the very same thing could be said about the Bill Evans trio.

Well now, let's try to figure this one out. You know off the top it's not Thigpen, because Oscar as far as I know never played any duo gigs with a drummer. Brown? Well, if it's him then what he said to Chuck goes against everything that Brown has said for the record about OP. There always seemed to be great musical respect and bond between these guys. Remember that Ray was first musician OP played with onstage in the US. They were together for 17 years. NHOP - well he's played with OP off and on (mostly on) for 30 plus years. On the recent 2003 video there seems to be a great deal of repect between them. In fact, it appears that OP looks to NHOP for some guidance a couple of times. So I suppose it's possible it's NHOP, but I don't think you play with a guy for thirty years with the attitude of Chuck's friend. That leaves one more....

That's sad news. Brian was a fellow Canadian, though he'd spent a lot of time in recent years in the US. He made a very nice mainstream CD for Arbors - "For You".

Well, Oscar himself was not pretentious, nor did he ever try to push himself into jazz history. In fact, Oscar was quite content in his hometown of Montreal. (He had turned down Count Basie's offer to take him to the US, andmake him a featured soloist with the Basie band). But then Norman Granz visted Montreal one night in '48 or '49. Granz was on his way to the airport for the flight home when he heard Oscar on the cab radio from the Alberta Lounge. Granz had the cabbie turn around and take him to the Lounge where he introduced himself to Peterson. Granz soon took him to NY where he pushed him on stage to do a famous duet with Ray Brown at the end of one of the JATP sets. This was in '49, I think, and the rest is history. If anyone "pushed" Oscar it was Granz, not Peterson himself. Canadians are rather a humble and modest people, and tend to underestimate our abilities. We're not known for excessive ambition or pushiness, and Oscar is no exception. In fact, Oscar worked so hard at developing his pianistic abilites was because he was not confident he could make it against all the giants "south of the border." (It's a typical Canadian story.) So I think Granz is mostly hero in the Peterson story, but also a bit of a villain. He brought Peterson to the international stage, gave him tremendous exposure, brought him great opportunities (and in the process, both men became very comfortable financially). But there's no question that Granz worked Oscar too hard, recorded him too often, and probably should have tried to record him in some more challenging settings.

Yes, there are recordings where Oscar's "flashiness" is over the top (esp. on some of the later MPS recordings, perhaps some of the early Verves) . Oscar has always been someone who impresses with his technique, but I think he really did learn to reign in that tendency, especially as he entered the Pablo years. He was a great "group" pianist, too, and blended very well with horn players, often bringing something to the stand which inspired them to play at a very high level. And Oscar never steals the show from them, either. I think of the Roy Eldridge 4 set at the Montreux Jazz Fest. 1977 or the Lockjaw Davis/Zoot Sims set at the '75 Montreux fest. And Oscar played beautifully with Milt Jackson, esp. on the duo recording they made for Pablo. But I urge those of you who are troubled by Oscar's flash and technique to check out his latest recording - a DVD/CD recorded 2003 in Vienna with his quartet. There is no doubt that since his stroke in '93 Oscar's technique has diminished considerably. On this recording the uses his left hand sparingly and without a whole lot of strength. His right hand, while still fast, is not as strong as it used to be, either. (Granted the man is 78 years old). On this recording OP even plays some clams in some heads, something unheard of previously. Oscar was clearly struggling at times in this concert, BUT this whole performance is very moving and satsifying, a nice balance of blues, burners, and OP's original ballads. What it proves to me is that OP is not all about flash and technique. Even with his current limitations he performs jazz at a very high level. That to me, is real artistry, and my appreciation for him has only grown over the years.

Seems like Monk didn't like ANYONE that day. A strange cat, but we knew that, didn't we? Well, Peterson has always had his detractors (critic Martin Williams, among others, didn't like him), but musicians who've actually played with him, like Ray Brown, seem to hold his playing in very high regard. Hank Jones has spoken highly of OP, and that's someone who knows something about piano. But does it really what others think of him? What matters is what you think of him. If you enjoy him (as I do), then listen to him. If you don't, then listen to someone else. But I have to tell you - I can't imagine anyone listening to the 5 CD's from the London House and not being very, very impressed and often moved by the brilliance of OP's playing. Peterson has matured and developed considerably since his earliest recordings (one of the signs of a true artist in my view). I don't think he sounds all that much like Tatum (and I'm not alone in that opinion), though he freely acknowleges Tatum as his idol. But listen to them back to back, and I think you'll notice quite a difference.

At lunch today - Freddie Hubbard- "Breaking Point" (RVG) - never heard this before, but it sounds great!

It's worth it. Definitely a "'west cost" vibe, but there's some great swinging music here. I think this set is worth getting for the Rosolino tracks alone. But you also get "Holman's Great Big Band, " some really fine Holman small group stuff including quartet tracks with Carl Perkins. And the Cooper stuff mostly sparkles too, though I find perhaps a bit less variety in his arranging. But all in all you can't go wrong with this set. And as I recall, the CD's average around 70 minutes each.

Well, you could always say "NO!"

Absolutely, on CD. A must for all 'bone players! (Metaphor, or something like that!) :rolleyes Actually, a good CD for all jazz lovers, esp. since it has Frank and Carl together. I love the story in the liner notes about the time Carl missed the beginning of the first set because his cab was stuck in a traffic jam. Knight decided to pull Duke's trick and called an uptempo number featuring Carl as soon as Carl hit the stand. No problem for Carl, though as he'd been warming up on his mouthpiece in the cab! (This track is on the CD).

Well, since trombone was my "axe" (note the past tense) and I have this on LP, I dove right in and gave this a spin tonight. There are 6 tunes on the LP (and there could have been 1 more per side) as the LP runs 36 min. But that's my only complaint. I second everything Free for All says about this music. Fontana is not just a great technician, but has a real gift for flowing, melodic improvising. (This is something that may be undervalued in the jazz world today). In fact, I think it's that sustained flow that is the most remarkable thing about Carl's playing. He never seems to run out of ideas or breath and it all seems so natural and easy, though of course, even if you have the gift, this is tough to do. I dig his full sound too, in every register. This guy was a master, no doubt about it. The program is not overly ambitious, swing-to-bop, and bop basics, for the most part, a samba version of "It Might as Well be Spring," and Carl's ballad feature, Polka Dots..." which he had been playing for at least 30 years by that point (1985). The tempos are nicely varied, however, and there's a sense of balance to the date. We only had Al Cohn for a couple more years after this, but he sure sounds good here. Al seems quite inspired by the rhythm section (which is excellent BTW, esp. Akira Tana to my ears), and if anything, Al seems more classically "boppish" than Fontana. You have to dig Al's squeak on the head of "Showcase."' Also the improvised chorus Al and Carl play sans rhythm section on "Soon" works very well. All in all a most satisfying date, nicely recorded, with a real air of maturity about it. After, hearing this I'm ready for a good night's sleep (and it's not at all because the music is sleepy).

Amen, Wesbed! I'm usually able to listen to 2 or if I'm lucky 3 Cd's a day at work. Depends on how busy it is. On a Friday PM, no problem. Sometimes I'm able to close my door and listen with headphones. That's what I like! I also do my best work that way.

McCoy Tyner - Enlightenment - finally replacing my worn-out double Lp which I bought 30 years ago this summer.

My exact count is 36 (of which only one is a Select).

My understanding is that it wasn't Concord Records which went bankrupt, but the holding company which owned Concord (presumably the company which bought Concord from Carl Jefferson). I think it took Barros a long time to get things unravelled, but I don't know who actually 'owns" Concord these days. Concord's distribution has always been hit-and miss, so this new deal will probably help. Whether or not they'll have much that's worth distributing (at least as far as members of this board go) is another matter entirely. But I suppose there's a significant audience out there for "adult" music

Comfortably more than 20. Maybe even a few more than Free for All, and my Woody isn't even on the way...yet!

I was just about to post the same question as montg asked. My thoughts exactly.

Lovano sounds great live, as well. Several years ago, I heard him in concert with a trio - Dennis Irwin and Willie Jones 111. Joe played nothing but tenor for two hours and he was incredibly HOT! Without question, it was one of the greatest live jazz performances I've ever attended. And the jazz-loving freind I attended with felt the same way. I had listened to all of Joe's Blue Notes in the weeks leading up to the concert, but they didn't prepare me for the impact of seeing him live. Sometimes (and this may happen to Lovano), musicians get so caught up in "concept" recordings that it distracts somewhat from what they do best, which is Lovano's case is stand in there and improvise brilliantly and powerfully at length. I also agree that Joe is a very warm, enthusiastic, and friendly personality. This came through after the concert. I asked him to sign my Rush Hour Cd insert, and when my marker wouldn't work on the shiny paper, HE began searching for another pen. I finally got the autograph, thanks to his efforts. He also mentioned how he remembered playing the same venue nearly 25 years earlier with Woody Herman. No doubt, Joe Lovano is a real credit to jazz and to the music scene in general.

The liner notes to Verve's 3 CD set " Stan Getz/Chet Baker - the Stockholm Concerts" (1983) are quite enlightening. Mike Hennessey describes the problem as a conflict of addictions - Getz and booze vs. Baker and heroin. Getz was also jealous of Baker and the how warmly audiences received Baker on that tour. (You can hear the sutained applause for Chet on the CD). Getz was resentful of the fact that Baker was supplying a rhythm section for Baker and on the tunes Getz and Baker played together, Getz turned it up a notch, trying to embarass the trumpeter. But it didn't really work as Getz planned. Chet hung right in there. After several concerts, Getz said to the promoter, "Either he goes or I go," and Baker was dropped from the tour. But honestly, if you listened to the music alone, you wouldn't know any of this. The music is very good, the rhythm section, (McNeely, Mraz, Victor Lewis), excellent, but I wouldn't call this one essential, either. Very enjoyable, but not essential.

Kansas City Suite - L.A. September 6 & 7, 1960 Personnel identical to the June 7, 1960 date posted above. From the Mosaic set discography.

From the Mosaic Roulette Studio set for the recording on June 7, 1960 Sonny Cohn, Thad Jones, Snooky Young, Joe Newman - trumpets Henry Coker, Al Grey Benny Powell - trombones Marshall Royal (as, cl), Frank Wess (as, ts, fl), Billy Mitchell (ts, cl), Frank Foster (ts), Charlie Fowlkes (bari, bcl, fl), Basie (p), Freddie Green (g) , Eddie Jones (b), Sonny Payne (d), Joe Williams (vcl) On the previous studio date Sept. 24, 1959, the only difference is John Anderson instead of Sonny Cohn on tpt. The personnel on your recording is probably the same as the June 7, 1960 date. A great band!