Late

Late, The first cd posted by Lon is the one doubleM is referring to. There also Thelonious Monk, The Early Thelonious Monk, on Moon Records (MCD 086-2), which has 1941 Monk on it. I don't know how easy that is to get anymore. Thanks Brad!

You can say that again. I remember when I heard that the RCA box was coming out, and that Orrin Keepnews was (grudgingly) letting it be "complete." I thought — maybe, just maybe — those drastically edited tunes would appear in all their unedited 9-14 minute (I wish) glory. There are still quite a few more tunes that Rollins recorded while with RCA. Now, whether or not they exist anymore on tape, I don't know, but they are listed in discographies. Anyone have any tapes/recordings of Newk's 1963 Tokyo concert? Or the 1965 Half Note concert? Or any other grey market stuff? I have most (but certainly not all) of the "standard" European live recordings from this time, but am always on the lookout for new sounds from this period (1962-68). You can always PM me!

I was just checking out some sound samples of Kurtag's string quartets. They are nice.

The few discs I own in the ECM New Series of classical recordings I really enjoy. Any particular recommendations from this series that anyone would like to point out? I'm especially fond of Thomas Zehetmair's playing.

N, I think this is what it comes down to. I'd agree with Marty's assertion: 1949-68 is essential, and, the more curious you are, the more you'll eventually want it all — studio recordings and bootlegs. There's some magic in every session from that (roughly) two-decade period. No kidding. If remastering (and/or sound reproduction) matters a lot to you, you might want to hold off on the RCA box. (Money-wise, however, it's probably the best bet.) The sound on the box is fine, but not stellar. The somewhat recent individual Japanese BVCJ issues are the ones to get (while expensive) in my opinion. Sonny Meets Hawk is especially shocking (meaning: pleasing) in its clarity and depth — beautifully done. I like all the RCA stuff, Impulse! stuff (even including There Will Never Be Another You), and European Concerts (esp. circa '63). Sure, it's "different" than the earlier Prestige work — more "halting" at times, I suppose — but it's still Sonny ... confronting head-on, as always, his sometimes baffling mastery of the tenor saxophone — from all sorts of angles. It's a fun journey to explore. Just jump in, I guess, wherever your personal tastes seem to dictate. My personal favorite of the RCA stuff is Sonny Meets Hawk, but Now's the Time! is great, too. East Broadway Rundown doesn't gel with everyone, but I'm a fan, particularly of the track "Blessing in Disguise": a great exercise in "musical reductionism" (my own enigmatic term for it) there. Don't forget the 1959 European concerts, too. Some great stuff there, too. Mainly, have fun!

That's some funny shite. Now think of the guy who put it all together.

Here's one out of left field that may appeal to some here. At $4.24, it seems at least worth trying out. Hastening Westward

The coffee was weak.

Now you've got me Jones-ing to hear this ... never've heard Monk with Byas ...

Don't want to derail the good words on Sonny Rollins and Way Out West, but this comment of Cornelius' is interesting to me. I guess I have to respectfully disagree with the idea that "[w]hat they [e.g. Gordon, Coltrane, Rollins, Ornette Coleman] played narrows what's left to invent." My problem with this idea has nothing to do with the relative mastery of saxophonists such as Gordon, Coltrane, Rollins, or Ornette Coleman. These guys certainly put a lot out there that is worthy of re-playing, and playing variations upon. But I think one of the inherent limitations in Marsalis' playing (and thinking, for that matter) is that his scope of appreciation appears to be strictly truncated. (We all remember what he had to say about Cecil Taylor and fly balls on Ken Burns "Jazz.") If he could perhaps find a way out of the comfort zone of American tradition and influence — why not try on some Evan Parker for starters? — maybe he could see, and let the rest of us see, that "what's left to invent" is really limitless after all. I had more hope after The Beautyful Ones Are Not Yet Born, but since then have unfortunately not heard much to get excited about.

For some reason, I've never thought about this — great question! Who's on the Minton's recording? Would Monk have showed up on any early Coleman Hawkins-led radio broadcasts?

Gonna have to track it down ...

And dig ...

Jack lives.

Whew! Quite the reading on this one. My mom actually gave me the vinyl record of this for my seventeenth birthday. Have loved the album ever since the first spin. One thing to try — sequence the compact disc without the overtly "Western" tunes (or by placing them at the end), and you just might hear the saxophone playing, or the album's overall arc, in a different light. Much is made of Rollins' wit and sense of humor, but there is also, at least to my ears, a strong underlying sophistication to his lines (I'm thinking of the solo from "Solitude" here) that seems to make this wit and humor all the more credible. These three guys are having a good time, but they're also making music on an extraordinary level (— which I'm not saying that anyone is denying). I can't think of many albums (from this period or any other) that seem to bridge "horn playing" with "ideas" any closer. Whatever Sonny's thinking, it's there, there you have it — cleverly inflected, nuanced ... like someone with a nice voice, and you just like to hear them talk. And, good God, what hour was this thing made? 2 a.m.? After they'd all gotten off night gigs? Stamina and commitment — played through almost as if they were just getting started. Seems like something like this wouldn't/couldn't happen today ... Isn't the cover to Sonny Rollins & The Contemporary Leaders a sort of "response" to the cover of Way Out West? I love both covers, but have heard/read that Sonny wanted something more "serious" for his follow-up Contemporary record. I love this album so much that I wish I could have been Lester Koenig that night (or whoever was there in the control room). Then, when the record was done, I could say: "Hey guys, how about we cut two more tunes? The record's done, but you're sounding good, and I'd like to capture it. How about 'I Hear a Rhapsody' and a blues ... I'll send someone out for subs, coffee, and a bit of Jack ... " Or something like that. Mainly, I just want to hear more. I would also have loved to hear another "California Trio" record from Rollins of this period — say, with Red Mitchell and Frank Butler. Sonny Rollins in Los Angeles perhaps, with more originals by Newk, while still with the ample share of his pick of quirky standards.

Kevin, Do you want to forward the information here (at least suggested titles) to Cuscuna? Let us know how we might facilitate giving our "dibs" a voice. Thanks!

One of my favorite trumpet players, along with Kenny Dorham, paired with Jackie McLean. Certainly not as polished as Art Farmer or Clifford Brown, but good ideas, and sometimes a pleasingly sassy edge. He reminds me at times (especially when muted) of Clarence Shaw. Other fans out there? A few random Hardman-related questions: • How's Hardman's Savoy session? (Nothing special? Special?) • Ira Gitler writes that Hardman was a "diminutive" man. How tall was he? • What's your favorite Hardman appearance on record?

"Whatchu talkin' bout Willis?"

OK, here's my wish "dibs" list. I'll max it out at six, since that's usually the current number of Connoisseurs that sees reissue. • Kenny Cox: Introducing - Multidirection • Don Ellis: Essence (Pacific Jazz) • Don Cherry: Where is Brooklyn? • Booker Ervin: unreleased Blue Note session • Ike Quebec: Complete Blue Note 45s Recordings • Dexter Gordon: Landslide A mixed lot here, but perhaps a variety of names (Cox as "unrecognized"; Gordon as "recognized") would make a more plausible list than if all the names were "unrecognized." Additionally, it would be great to see some titles make their first appearance on compact disc (as opposed to those that were originally part of a Mosaic box).

Looking at the cover of Jackie McLean & Co., one member of the sextet is missing, and I can't exactly name the two guys below Draper — one of them's Art Taylor ... and the other is Doug Watkins? Help?

A million? I suppose I hear where you're coming from. I guess I was just thinking about the Atlantic recordings that Gunther Schuller set up, and in which Ornette soloed. I sensed at least some parallel ambitions there, but the more I think about it, the more Tatro's work seems less available (because of its through-composition, I guess) to an improvisor like Ornette. Just a thought, because that paragraph made me think of Harmolodics. (But maybe my understanding of harmolodics isn't all that clear ... )

Absolutely. Wouldn't want to be without that one — or any of the remasters Rudy did that were recorded by Doug Hawkins for Blue Note.

Thanks N. I pulled the trigger on this one. The VICJ is on its way ... along with the VICJ of Steamin'. $ $ (Oh, yes. I'm over my "upgrade-itis." )

©Penny Parker

I know ... how about the unreleased session with McCoy Tyner and Wayne Shorter?