Late

Hey, you're right ... ... but wouldn't you need to make that (a la Billy Joel) "ti-himes"?

In my mind, the great triumvirate of the soprano saxophone is Bechet-Lacy-Parker. (Evan, that is.) Convincing arguments could be made for the significance of Coltrane-Braxton-Liebman's contributions to the horn, but they tend to strike me less as innovators and more as superlative practitioners. I'm leaving out a lot of other important players on this horn, though. Who do you like on the soprano?

Well, at least they include the original, but little known, lyrics to "Maiden Voyage" on their site:

Ulp ... I don't even know that record ... .

I actually think your comments fit with Dave's. I'm hearing Dave's reference to the "second chair" more in regard to notoriety and public recollection than musical achievement. Don Byas — the Nikolas Tesla of "swing-to-bop" tenor?

By the way, on a semi-related note, for Bach's Die Kunst der Fuge, I'll give a big for the Keller Quartett's (fairly) recent recording on ECM New Series. When you hear the Keller play it, and then listen, say, to the Emerson Quartet, it's almost as if you're hearing different compositions, or an altogether different period of music. I like the Emerson Quartet, but (to my not-so-sophisticated classical ears) they seem to "Mozart-ize" the fugues. Another rec on ECM New Series (Bach-related): Till Fellner's recording of The Well-Tempered Clavier is pretty good. Maybe too much of a polished edge at times, but still luscious. I don't really care for "jazz" on ECM, but I think the way Manfred Eicher records classical music is beautiful.

Whoo boy, this could get expensive. So far, recordings I haven't heard: • Starker • Bylsma • Wispelwey • Fournier I need to hear the Suites on a period instrument. Argh!

While I happen to spin Byas a lot more than I do Mobley, I think this is a great observation. Something intriguing about that "second chair." Anyone ever notice how Byas plays the tenor almost like a clarinet? Not the sound, but the way he puts the mouthpiece in his mouth. Giuffre is an even more extreme version of this (— I love his tenor playing too, but, my, he did look odd playing the thing).

ASNL ~ just wanted to say, keep that avatar! (Haven't seen that cover "avatar-ized" before.) Still looks great miniaturized ...

I've always had this impression too. I imagine, however, that among musicians he was relatively better known, if not very well known (and respected). I've always found it interesting that Hawkins would hire Byas into his band as a sort of "second" tenor. He must have liked what he heard. Byas's contributions to Gillespie's band also seem to strike a curious — and attractive — stance between bop and earlier styles. Byas sounds more "liquid" to me than Hawkins, in the sense of how he strings eighth notes together. Whereas I more commonly reach for Hawkins recordings off the shelf, Byas still has a special place in my listening. Any other descriptions/comparisons of how you hear Byas in contrast to Hawkins? (Or Byas in contrast to Chu Berry?)

What, no thread here devoted to Byas? What recordings of Byas do you most return to? How do you hear Byas in comparison to Bean?

I've been playing this one to start my day for five days in a row now ...

Here's our most recent thread on John Birks. Join the fun!

Agreed. In some ways, though I can't exactly explain why, it's almost essential. I guess hearing different interpretations helps to solidify one's own preference ...

I always go back to the Pablo Casals recordings of the Suites (which I think have just recently been re-remastered). They're classic if not definitive. Thomas Demenga — who seems a relatively new master — has also recorded the Suites for ECM, but they've been spread across a fair amount of different discs. Still, great production values, and Demenga's sound is nice — though he does tend to take some tempi more "up" than Casals. I've never been able to get with either of Yo Yo Ma's recordings of the Suites. (He recorded them, in entirety, for Sony twice, I believe.) Technically immaculate, but something oh-so Wyntonesque about those sides ...

Listening to the VICJ of Art Pepper + Eleven for the first time right now ... The remastering puts Art right in your lap! How can a speaker make a sound feel like it's right in front of you?

Mr. White Chocolate Carter Dogg

A patron at ... ?

Nice! (And thexy!) The Soothsayer ... ?

Wasn't the previous VICJ series (in cardboard sleeves) numbered from 6000? Seems a little odd that the new series would go from 4000. Still, my guess is with Hans — I'd think that this newly-priced series use the same remasters, but are simply in jewel cases instead. I wonder if it actually costs more to put out discs in cardboard sleeves? I wouldn't think so, but ...

I'm teaching the play right now in my Intro to Drama course. Apparently, one of Miller's regrets about this play was that he didn't develop the character Linda as much as he would have liked to. As a result, this leaves her (perhaps intentionally) ambiguous statements at the drama's close open to more speculation than Miller may have wanted. Still, a great play to read and teach. This is the first I've heard of Miller's passing.

If it'd be anything like his work on the Love Supreme set, that would be my hope too. Some of Rudy's best-ever remastering work, in my opinion.

Yes. It got bumped back for reasons that I can't now remember. Estate-related difficulties? I thought it might be more than 2 discs, but I certainly won't complain. I do hope Verve doesn't get too fancy with its packaging ... .