HutchFan

Rosnes for me -- not just for her playing but also for her excellent composing. Johnny Griffin & Lockjaw Davis (together) or Gene Ammons & Sonny Stitt (together)? Now THAT is an impossible choice. My pick: BOTH!

I've decided that I'm going to have "A Day of Diz" -- nothing but Gillespie all day long. Now spinning: The first disc captures the band in 1968 and the second disc is from 1962. As usual, the LRC packaging is shoddy and careless -- but the music is terrific, especially the 1968 set. If you want to hear an example of James Moody's flute mastery, give this a listen: Primo Burrell.

I gotta go with Cuber for all his work with the Hammond B3 guys!

Jimmy Raney for me. As a soloist in Ellington's Orchestra: Clark Terry or Ray Nance?

Absolutely! More Dizzy this morning:

Disc 2

Disc 1

I've always enjoyed Carter, and I recognize his importance in the scheme of things. But I have to admit this one's easy for me. It's a win for Hodges. I love the way that Hodges shapes every note, every phrase, so beautifully and effortlessly. He makes a SUBLIME sound. I feel like it's almost unfair to compare others to that! Don't know enough of the music to make a meaningful reply. I'm familiar with the Kenton Maiden but not the Ferguson Maiden. Time to bone up on it, I guess. Buck Clayton. Buddy Tate or Don Byas?

More Carlos Garnett:

Carlos Garnett - Black Love (Muse, 1974) I love all of the voices on this album, but I wish Dee Dee Bridgewater was on more than just one cut. She brought something extra-special to the table.

Next up:

Fair enough! But you've got to offer up another pair now. Just did.

An impossible choice! Without thinking about it too much -- because I love Rowles so much -- I'll go with John Lewis. James Moody on sax or James Moody on flute?

Hearing aids are out there on the horizon for me too, sooner or later. I was tested a few years ago, and I was right at the bottom of the "normal" range. And I can tell that my hearing has worsened since then. Half the time, if my wife says something and she's not looking at me: "What did you say?!?!" Ugh.

Enjoy!

As much as I love Hank, I gotta go with Dylan. Cannonball with Victor Feldman or Cannonball with Zawinul?

I didn't realize these guys were doing reissues... I've not heard those. I guess I need to get them. And again: Buster Williams or Cecil McBee?

Wow. I had no idea it was that early. Good to know.

Interesting. When did Wheeler emigrate from Canada to the UK? I didn't realize that he'd already made his way over in '62. Continuing with the Wheeler-Winstone-Taylor theme: Live at Roccella Jonica (Ismez Polis/Splasc(H), recorded 1984)

I'm still mulling the Ellington-in-the-70s idea that Jim proposed. I'm not so sure that I'd pick the 70s over the 50s or 60s. But there WAS something there, wasn't there? The Ellington Orchestra was different in the 70s. And I suppose it must have had something to do with both Hodges and Strayhorn being gone. Strayhorn's music always had a refined finish that Ellington's didn't have -- and Hodges made one of the prettiest sounds ever. (And Hamilton gone too! So streamlined. So well-scrubbed and fresh. Can't forget him.) With all those departures, it's almost like Ellington's band circled back around to what it was at the very beginning. Much more rough-and-tumble, a bit ragged around the edges (even more than it already was!) -- but almost always in a pleasing way. Seems like you get more unvarnished Ellington because those other voices were gone. Of course, Cootie was there and Carney too. But they weren't pretty like Hodges or clean like Hamilton or polished like Strayhorn. Cootie was doing his own gorgeous, rough-edged Bubber thing and Carney was the ever-present THERE, like gravity or the earth underfoot. So... Ellington in the 70s. For those four years, I'm in. And, as far as this listener is concerned, all those writers -- Collier, Teachout, et al -- who say that Ellington never progressed after the 40s (or 50s or whatever) are full of shit. Duke kept making vital music until the very end. Now, has anyone chosen between Buster Williams and Cecil McBee?

True. Seems he always sounded good. High as a kite or sober as a judge. It did not matter. Well, maybe except for that one session just before he went to Camarillo. But even then ...

Terrific! I'm a fan of both Tjader and Palmieri, so I think they sound wonderful together. They also collaborated on another LP, El Sonido Nuevo. Also easy to recommend.

I'm jealous. I never had an opportunity to see either of them perform. With Kenny gone, maybe I'll have a chance to catch Norma some day.

Washington for me. Buster Williams or Cecil McBee? (IMO, that's devilishly difficult choice if there ever was one) I bet Bird was high most of the time, even when he wasn't "high." I remember reading a story in Stan Getz's biography: Near the end of his life, he abruptly ran from the studio without any explanation. He later admitted that he'd NEVER recorded any music sober. None! This had been the first time he'd ever tried to -- and it completely freaked him out. ... Wouldn't surprise me one bit if Parker's experience of the studio was the same. Again, not saying he was always falling down drunk/stoned -- but always "tight."

Yes. Absolutely. No doubt! I learned a TON from that dude!