John Tapscott

Actually, on second thought, as verbose as Wong is, Stanley Crouch is far worse. I just don't know why writers feel the need to show off their intellect when they're writing for people who are not experts. It's a pet peeve of mine, and I'm sorry, but if you can't say it in terms that a person of average intelligence can understand, then you don't know what you're talking about. WAY OFF THE TOPIC OF THE THREAD, I know.

I guess that's what happens when you get a secure postion. But let's give Bob a bit of a break. I think for the most part he writes decent notes, though I agree, they don't seem quite as inspired now as in earlier years. It must be tough when your mandate is to write about every RVG as if it's in the top 10% of Blue Note recordings ever! And you don't have to go overseas to find over-the-top intellectualizing and verbosity in liner notes. Has anyone ever been able to read liner notes by Dr. Herb Wong all the way through?

I have to agree with this. Dizzy was perhaps the only one of these trumpet players who was truly Bird's equal (and far more than a "worthy constituent"). I have come to the conclusion after a listening several times to last weeks AOTW, that Diz inspired Bird like no other trumpet player. The others were all very good and Fats pushed Bird too, but it seems that whenever Diz was around, on trumpet or piano, Bird's playing moved up a notch (if that were possible). So my vote goes to Diz.

I found Hank's "Turnaround " a bit disappointing. Some of the tracks never seem to catch fire. On the other hand I really like "Thinking of Home."

Fans of straight ahead contemporary big band jazz should check out 2003's "A Perfect Match" by the Mark Taylor/Steve Fidyk Big Band (from the Washington D.C area); plus Stan Kenton's "Contemporary Concepts" re-issue on Capitol (a truly classic big band jazz recording).

This is really the key thing, I think. You'll basically get zilch for the car with a blown tranny. The dealer will take almost the full retail value of fixing the transmission off the car's book value (though, of course, it won't cost the dealer that much to fix it). Personally, I would get the new transmission and if the engine is still good and there are no major rusting problems, you should be able to get another 2-3 years and 60K out of it. Yes, there may be a few things you will have to spend money on in that time, but if you buy another used car, you'll likely have to spend it on that car, too. I'm speaking of brakes, tires, shocks, etc. Most us us need cars, but they're an expensive money pit, new or used. No way around it. I have a '99 Ford Taurus and my goal is 250,000 km minimum (160,000 miles). I only has 40,000 miles on it so far, but I'm trying to maintain it well so I can achieve that goal.

I know a lot of people really dig it, but I've never really enjoyed "So Near, So Far" all that much. It's not Joe Hen so much, but Scofield's guitar. (Again, I know a lot of people really dig that kind of guitar plaing, but it's just not my cup of tea somehow). Plus, I don't think Joe and Sco really mesh all that well on that record.

Recently I was revisiting McCoy Tyner's "New York Reunion" on Chesky with Henderson, Ron Carter and Al Foster. IMO Joe is just tremendous on this date, and the recording quality gives his tenor sound a wonderful "up front" presence and fullness that you don't always hear on some other recordings. A brilliant CD from every perspective.

This is strange in a way. I received a CD from cheap-cds yesterday and last week anyway they were still replenishing their stock and getting new releases in stock. Anyway, I can't imagine that a company which lives by internet sales can afford 3 or 4 days downtime. So I guess we have to assume that cheap-cds. com is history. Another dot.com bust. Unfortunately in this case, I would say. Can Board members kindly suggest similar sites where CD's can be purchased relatively cheaply? Thanks

They are still down this morning. This is not good. Cheap-CDs has been my most used on-line store over the last 3 years. And their service was generally very good. I tried calling their phone no. 1-888-549-8800, and there was no response, though that may be because I live in Canada. Perhaps someone in the U.S. could try it and see what happens.

Man, this is a horse race, maybe the tightest poll I ever remember on this Board! Just a couple of thoughts. Interesting to see the excellent pianists getting no votes at all; I thought Andrew Hill might garner a few. Though I didn't in the end vote for Horace Parlan, I did consider him for a few moments and I'm glad he's picked up a few votes. And even before I saw the nominees listed, the first name which popped into my mind was McCoy Tyner, but perhaps that's because I've been listening to some McCoy discs lately. In retrospect, he probably should have been on the list, and might have received a few votes, though not up there up there with Silver and Clark.

I had to go with Horace, but this is a tight one. I do agree with Dan. Horace's playing helped to define the Blue Note "house" sound. Sonny's a great player, but for me, not quite as distinctive as Horace.

I was torn between Smokestack and Rumproller, but voted for the latter. This is a session which I really enjoy, and is nearly the equal of Sidewinder.

My thought is that unless you're the kind of person who really abuses cars, just drive as you normally do from the git-go. Just don't forget your first oil change at 3,000 miles (or 5,000 km). That's what I've done with all my cars and with the exception of one, they have been OK for the most part. The problems with that one had nothing to do with the break-in period or lack thereof. It was just poorly manufactured. Needless, to say, I won't buy another one from that company again. (Hint - it was a model made by the company which recently merged with a famous Europen auto company).

If you have a mono switch on your stereo, press it while listening to a stereo recording, and you'll be able to tell the difference. On many of the digital era recordings, the stereo separation is not nearly as noticeable as on earlier stereo recordings. You could listen to many current recordings in mono and I don't think you would notice a huge difference. BTW, I think mono sounds really fine in most cases. Try to avoid those recordings which were originally mono, but were rechannled for stereo. They sound pretty bad. If you have to listen to them, use the mono switch and they sound much better.

I voted for "Midnight Blue". Though Wynton's trumpet playing is often quite beautiful on the CD, overall I find the CD to be insufferably dull. At 77 minutes, it's way, way too long. I'm asleep before I've listened to half to it. Snoozeville.

My favorites, "Marciac Suite" and "Black Codes from the Underground" aren't listed. Therefore, I cast my vote for "Blue Interlude", another Wynton CD I have enjoyed over the years. Had the choice been restricted to the big band sides, I would have voted for "Big Train."

Charlie had "it" when he was younger, too. Listen to him on Bill Holman's arrangement of "Stella by Starlight" from Stan Kenton's Contemporary Concepts CD (just re-issed by Capitol). He had feeling, depth, and great tone back then, too, when he was still in his 30's. And he's continued to grow over the years. I haven't got the new Justin-Time release yet, but I've read 3 very positive reviews, including Jim's. This is one I'll have to pick up.

Storyville CD - Woody Herman and his Orchestra - "Live in Warsaw" Feb. 25, 1976 Tenors - Frank Tiberi, Gary Anderson, Salvatore Spicola Baritone - John Oslawski

Late :Thanks for that. Carl has been woefully underrecorded in his career. I pulled out a few discs last night just to see what he's on. Here's what I've found. Bobby Knight and the Great American Trombone Company - Cream of the Crop (Jazz Mark) - Rosolino is on this, too. The Great Fontana - a 1985 Quintet date on Uptown Bobby Shew with Carl Fontana - Heavyweights (Mama) Stan Kenton - Kenton in Hi-Fi Cuban Fire plus a couple of Kenton bootlegs from the '56 European tour which feature two Bill Holman arrangements written to feature Carl.

Bataki: I was a fairly close follower of the Herd and its peronnel in the '70's, and I'm almost certain that the tenor player you saw with Herman on those dates was not Gregory Herbert. The last time I saw Gregory with the Herd was in the spring of '75 at a Toronto concert. By that time he had already left Herman but had come back to fill in for a one night stand. Woody made some reference to that fact in the concert. I believe Woody really dug Gregory's playing. The tenor player you are likely referring to is the one and only Joe Lovano who played with the Herd from about mid '76 to early '79. The other tenor player in the band at the time (besides Tiberi) was Gary Anderson who also arranged for the Herd. I don't think anyone would describe Herbert as "a skyscraper" though you might speak of Lovano that way. On reflection, it probably wasn't Lovano at the March 1, 1976 concert, but another player whose name escapes me at the moment. There's a poorly recorded CD on Storyville from that tour which I have at home, and his name is listed on that. On the 25th of October 1977, it would certainly have been Lovano.

I voted for JJ, Tea second, Fuller third. Had he been there, I would have voted for Rosolino. But the all-time underrated trombone great has got to be Carl Fontana. Nobody, but NOBODY of the post JJ players had the melodic flow at tempo that Carl had (and perhaps still has, though I understand he's quite ill). We shouldn't overlook Bill Watrous, either. I heard him live in a club one night with a very hot rhythm section and he was phenomenal. Unfortunately, his recordings don't always do him justice.

Yes, you're right. This is one of those times (rare over the past 8-10 years) when it's good to be both a Canadian and a big-time jazz fan. Time to stock up. As if I needed another excuse. I'm betting my wife will be impressed. Look honey, says I, don't be concerned - the exchange rate on the credit card bill is only 1.3672. Remember how last winter it was 1.4890! Think of the money I'm saving!

Lon, I know what you mean. It can be overwhelming. But Tatum's music is not forbidding to the newer (or even the veteran) jazz listener, as Taylor's often is. I always look forward to playing some Tatum, (a few tracks at a time as Jim suggests), because I find it so enjoyable. I probably get about 1% of it, but what I do get often makes me laugh and smile. I am astounded by the technique, but I also revel in the sheer joy of Tatum's music. I think it has something to do with the way he used harmony.

I gave the album a spin yesterday and it reminds me of the first rule of tenor saxophone playing: No matter who you are, don't go head to head with Coleman Hawkins. Certainly Rollins plays very well as he follows Bley down a slightly more abstract path. But Hawkins holds his ground and shows everyone why he is the king of the tenor saxophone. It's a terrifc album overall.