Late

Apparently this cat—actually named "Walter Bishop"—is quite famous in certain online circles.

Vaughan with an obscure trumpet player, and an even more obscure conductor. 1984. Vaughan must have known who they were. The trumpet player has promise.

Quinichette came to play for this date. Though one of his keys keeps clicking (I'm guessing D?), he is undeterred. Love the way Quinichette bends a note.

Two years and eleven days later—another October—this one spins on the hi-fi.

Cool Yule

My experience too. I've never used their Proxy service, however.

I realized I didn't have this title in my collection. Purchased. I've had After Midnight for decades, but not this one.

Agreed. There are Japanese editions with all the tracks. From that Historical Series (vinyl) on Prestige, I do have the Benny Carter—it is really fine. Some of my favorite Carter.

Auction ends tomorrow. The description lists the tunes where Coltrane played alto (from a Gene Ammons date). Um, the horn (pitch?) doesn't sound so good to me on those tracks. Whenever I come across them, I always wish that Coltrane was on tenor.

Listened to the whole of this album—plus the two bonus tracks ("Conception" & "My Old Flame")—last night. Great bebop soloing. Blakey, a drummer I usually adore, weighs the proceedings down, in my opinion. (Miles scolds him on the album for not ending with band: "C'mon man, you know the arrangement!") Otherwise, the three horn players carry the day.

Based on this thread, I recently picked up this album on CD. The singing is fine. Still getting used to Riddle's work—I like it, but I'm not hearing all of it yet.

Wow! Thanks for sharing that link. I'd never heard Azar Lawrence with Elvin's working band before. He fits right in. I imagine, if he hadn't been with McCoy, Elvin would've hired him. I hope so, but I wouldn't be surprised if the Japanese market put out a straight reissue of the original set, as is. The edits, to my knowledge, trim about 10-12 seconds from just a few songs. One edit (the track "The Prime Element"), however, does trim over 2 minutes. It would be nice if the three "bonus" tracks mentioned above could be placed on this new 2-disc set. Fingers crossed! ============================= April 1, 1973 • "New Moon" Steve Grossman: tenor saxophone Azar Lawrence: soprano saxophone Gene Perla: bass Elvin Jones: drums Famous Ballroom • Baltimore, Maryland ============================== Holy sh*t—I've never heard Grossman play quite like this. Really, really fine.

Exactly. I've made Lester Young "albums" (playlists) collected solely from alternate takes. It makes for interesting A/B listening with the "real" album.

Tomeka Reid interviews Abdul Wadud. (With Joel Wanek.)

(Larry has! )

Just listened to this album in its entirety. It'd been a while—much better than I remember, particularly Miles' playing. Coltrane is still getting it together it seems—the ideas are there, but not always the execution of those ideas.

Elvin! I think this is one of Riverside's best-recorded albums.

Did he only make five covers for Prestige?

Cool and haunting at the same time. I like this one too:

If I didn't already have all the albums, this is probably how I would purchase them now. Shame that Blue Moods couldn't have been included, but it was on Debut. So, this set has all of Collector's Items, the two bonus tracks from Dig, and all of Blue Moods. That's a good listen.

Much agreed. Walkin' has some of the Schildkraut session, and it also (from a different session) has some fine Lucky Thompson. I also really like Kenny Clarke with Miles. He had a certain way of hitting the ride cymbal—you know it's him. (Okay, sometimes I mistake his cymbal sound with that of Roy Haynes. )

I believe this was actually released on compact disc, circa 2007. I didn't pick up a copy, but wish I had.

I'm interested in discussing Miles' Prestige LPs before "The First Great Quintet." I often forget how many albums (nine!) Miles recorded before he hired Coltrane. (Of these nine albums, yes, one of them does have a track with Coltrane on it. And, yes, some of the albums originally appeared in 10-inch configurations.) • Of these first nine Prestige recordings, which do you return to the most? I've been listening closely to the Schildkraut (Blue Haze) session lately, and am impressed all over again with Mile's sound and tonal control. He also (I'm pretty sure) isn't using a Harmon mute. It sounds to me like a cardboard straight mute, which produces a beautiful sound—one Miles seems not to have returned to after this session. (Trumpet players, do correct me if I'm wrong!) • Who listens to And Horns? I like that album, but probably listen to it the least. I also need to listen to Quintet/Sextet more—I like the way that album was recorded. Discuss your favorites!

On the topic of Elvin, his debut album (for Riverside) seems overlooked. Besides being beautifully recorded, it has interesting compositions, Thad and Hank aboard, AND both Franks—Foster & Wess. I'm listening to an early Japanese edition as I type, and the stereo sound is amazing. Frank Foster isn't fully under the Coltrane spell, and Wess is impeccable on flute. And Elvin on brushes—the first nine seconds of the album...I've actually played on repeat more than once. Anyone listen to this album recently?