John Tapscott

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.

Dan, I think it's a little unfair to speak of the "Christian Fascist" in this regard, since people of other faiths believe in God as well, and some of them may be as offended by the use of the word "God" in this way. I am a Christian believer, and while I would not use "God" in a sentence as Waller did, I think most of us know this is a figure of speech, and take it that way. I simply marvel and am grateful that the Creator gave Tatum such talent. In terms of Tatum's playing, he may well be the greatest solo piano jazz piano player ever (and certainly among the top three). But I would not rank him nearly as high on the list of ensemble or group pianists.

I saw Herbert several times with Woody Herman in the early '70's and he was a hot tenor player. I think his best work is on Herd at Montreus on Fantasy which I believe is now on CD. He is the featured soloist on three lengthy tracks on that album. Woody obviously and rightfully thought he was a major talent. As I recall, when he was about 18 years old he substituted briefly for one of the Ellington saxophone players.

Apparently Mingus' bass was almost inaudible on the recording. BTW, the tapes were given to Mingus in lieu of $$$$ for playing that night. Massey Hall was only a quarter full and the promoters ran out of money before the musicians were paid in full. Originally Mingus wanted to destroy the tapes immediately because the recording wasn't great and the bass couldn't be heard. Thankfully, he held on to them, overdubbed the bass lines again, and released them on his own label a year later. And we know the rest of the story. I'm sure Massey Hall will be sold out tonight for the 50th Anniversary Concert - Roy Hargrove, Kenny Garrett, Herbie Hancock, Dave Holland, Roy Haynes, and making a special appearance, Max Roach. Wish I could be there.

Another bassist - Ron McClure

Over the Past couple of weeks: Chico Hamilton Mosaic Miles Davis - E.S.P. Roy Hargrove and Antonio Hart - The Tokyo Sessions Duke Ellington - Three Suites Stan Kenton - At the Rendezvous Vol. 1&2 Lenny Breau and Dave Young - Live at Bourbon Street Mark Nightingale - What I Wanted to Say Tony Williams - Young at Heart Duke Ellington Meets Count Basie - For the First Time! The Fantastic Frank Strozier Stan Kenton - Stompin' at Newport John Coltrane - Ascension The Vanguard Jazz Orchestra - Can I Persuade You? Dexter Gordon - One Flight Up Bix Beiderbecke - Riverboat Shuffle (Naxos) Art Tatum - Tiger Rag (Naxos) Johnny O'Neal - At Baker's Keyboard Lounge

Ed Neumeister

I have the double LP with four tunes, Absolutions, Beehive, Neophilia and Nommo. Due to a busy week, I've only had a chance to listen to it once all the way through. My overall impression is that it's a decent, if not great Morgan album. You have to give the band credit for exploring some new tunes and new musical areas even if everything doesn't quite come off. I think the first two tunes are generally more successful than the latter two. Lee seems more focussed and fiery and I think the band comes together better on these tunes. Neophilia is a great tune, though I am not as impressed with Maupin's bass clarinet work as others may be. His tenor playing on the other tunes is very strong, however, and to me he may be the most impressive soloist. I am a Mabern fan, and I think he plays well here. Though I don't have really have an "ear" for this, I wonder if the piano is a bit out-of-tune. I don't think Nommo is a totally settled performance, but given its rhythmic pattern, maybe it's not supposed to be. It still is an excellent tune. Anyway, I'm glad I had a chance to listen to this one again. Probably not my favorite Morgan recording, but generally very enjoyable. 3 and 1/2 stars.

There are 4 LP's under Booker Little's leadership that I know of. Add another session or two that he played on, and you'd have a real nice Mosaic Select set. Recently I've been listening to "The Fantastic Frank Strozier" CD (Vee-Jay reissue on Koch.) Nothing wrong with Strozier, but if anyone's fantastic on that session it's Booker. Man, he digs deep into the blues!

Toshiko Akyoshi

I voted for Black Fire, because this is the one I would play for a newcomer to Andrew's music. That doesn't necessarily make it the best, but perhaps the most accessible. It's the one I reach for most. Joe H. is just terrific on this, but then I could say the same about Hutcherson on Judgment.

Lee Konitz

Bob Brookmeyer

In some 32 years of listening to and collecting jazz I had never heard this session - until today! (Well, you can't listen to everything, right?) But this is a great session. If you've never heard it, please don't wait as long as I did.

ESP for me.

Matt Wilson

Lon, I agree. Unlike most big band albums the charts are not the focus here and I was a bit surprised at that when I first heard it. Everything is really opened up for the soloists to do their thing. Sort of like JATP for a big band. But when you accept it for what it is, then you can really dig it, because the soloists (esp. Smulyan on baritone!) are cooking. And the thing swings hard at every tempo.

I don't know how many of you have heard it, but man, this CD by Danny D'Imperio is one smokin' disc. I've been really digging it over the past couple of days along with Lee Morgan Live at the Lighthouse. I know Danny is a member of this forum under some name, so congrats. Danny - I hope there's more to come. In the meantime, I highly recommend this one.

Mulgrew Miller

The Count (well, that's two). Hank Bags JJ Fatha Bud (for me at least, that would be the one and only Bud Powell) Buddy (for the drummin' man) Hamp Fats Cannonball

Things are Getting Better on Pablo, a date JJ co-led with Al Grey. Also, have to concur with Getz at the Opera House, the Village Vanguard CD's, and the Columbia recordings (now on Mosaic). Though JJ never made a bad record I never cared too much for Tangence. Robert Farnon is a great writer, but not for jazz, IMHO.

Reg: I share your love for this CD. Gillespiana is one of my very favorite Diz recordings, perhaps THE favorite. (But there are so many great Gillespie recordings, please don't ask me to choose just one!).

Absolutely it's still performing. There have been some changes in personnel since the Trend/Discovery years but the performance level is just as high as ever and Bob's arrangements are as hard swinging and powerful and interesting as ever. The recordings Brownie mentions are avialable as CD's (or were). If you're looking to dip your toe in the Bob Florence ocean, try to get hold of the CD called Jewels which is a compilation of the Trend/Discovery recordings. I am usually not too keen on comiliations, but this one really works. Also, try to get hold of his recent Mama CD's - (Bob really comes up with some great tune and album titles) Funupsmanship, With All the Bells and Whistles, Earth, Serendipity 18 - you can't go wrong with any of them - they're excellent.

Well, I went with Jackie (glad I'm not alone). I love the trumpet/alto blend. But then again, I love the trumpet/tenor sound, too. Of the tenors I would have to say Hank just edging out Wayne (though this is a really tough call).