Late

A lot of OJCs have been going through my player lately, and, as a result, I've been listening to a lot of Art Taylor. In 1957 alone — he must have lived at Rudy Van Gelder's studio! To my ears, Taylor combines the hard drive of Philly Joe with the finesse of Roy Haynes: an impeccable sense of swing, unobtrusive support behind soloists, and crackling solos of his own when called upon. Does it ever seem to you, though, that Taylor's name is not mentioned in the same sentences with Roach, Blakey, and Jones (both Philly and Elvin)? I wouldn't say that Taylor is "overlooked," but it does seem, for whatever reason, his star hasn't been as bright in jazz history. I guess it doesn't really matter — the guy can play. What are your favorite Taylor appearances on record? And, if possible to list, are there any Taylor solos that especially stand out to you?

I asked about Fuller's Prestige work. (And I like trying to find pertinent "old" threads rather than creating a new one. B-) )

Another for this one: Charlie Rouse Quintet: Takin' Care of Business Sound Samples

Last day for the current 25% off jazz sale. This fine session (out-of-print?) is in stock.

Interesting thread — I'm curious to follow along on what label the session was made for. Now I'm going to have to spin The Ear of the Behearer, probably my favorite Redman session (from those I've heard).

The Bards have some. They're listing them at $18.99 a pop. (I'm going the Hiroshi route.)

Check out this search. Also try Two Trumpets on Prestige, featuring Art Farmer and Donald Byrd. Jackie's on that one, too.

Any love for Fuller's Prestige work? (Guy mentioned New Trombone above.) I'm just about to pull the trigger on With Red Garland.

Who's on this one? Seems strange that the Japanese haven't re-reissued some of these since their first appearance around 1997. I only have two, but they're nice indeed.

Thanks Chuck. Interesting that Jackie closed the day with a burner.

Might you be a contender? I've changed mine a few times but I've always gone back to my original avatar. OK, you caught me. My avatar's never changed from Newk recording The Bridge. Still, I'm wondering if anyone else, from Day One, has kept their same avatar? My avatar of Sonny Rollins stopped loading (at least on my screen) for some reason. First avatar change since I joined ...

I think you're going to like the Prestige stuff. I've been listening to it again recently, and am really appreciating it more than before. Here's a question for Jackie discographers: On February 15, 1957, Jackie recorded at least 11 tracks (totalling over 66 minutes of music) with Mal Waldron, Arthur Phipps, and Art Taylor, which were then spread across four Prestige albums. Does anyone know the original recording order from this day's work? I'm interested in putting together a "complete" February 15, 1957 disc. Also make sure to check out Jackie on Gene Ammons' jam sessions. He's in sharp form there.

The VICJ of Dig is nice — it reunites the two tracks from Conception to their original recording session. The sound is improved over the OJC, but the original recording itself seems to have some inherent flaws. The music, however, is .

Very cool — glad you dig! I just received a big OJC order on Thursday, and had a chance last night to devote around four hours to some serious listening — courtesy of new Grado headphones! Here are a few mini-reviews, after my first go-round with these discs: What have I been thinking all these years? I've had Henry on Brilliant Corners now for about 17 years ... and for some reason have never purchased a Henry-led session — until now. Wow. What sweet-and-sour alto playing; I really like his phrasing. Many thumbs-up for this one. Will have to check out the other Henry sessions ... Ahh ... Buck Clayton with Buddy Tate. This one just makes you feel good. Nothing that will make you sit up in your chair and holler ... just elegant, blues-drenched chorus after chorus. Good with a little whiskey. Another one — what the hell was I thinking? I have a fair amount of Mal on record, but, for some reason, this one just kept slipping under the radar. A big mistake! An intriguing record, and not just for the presence of Coltrane — one to return to with more concentration. The Jackie collection (on OJC) is now complete (well, except for the side with John Jenkins — d'oh!). What a nice one to save for last! The more I return to Jackie's work on Prestige, the more I value it. I play just about all the Prestige stuff more than, say, Swing Swang Swingin' or Capuchin Swing. Those two are both fine records, but the Prestige work just grips me more. McLean really is one of the consummate "blues" players in jazz.

That's a nice one — just spun it last week. Good choice! I also really dig Bennie Moten on Classics. And mid-30's Red Norvo!

Here's the first sextet studio album (which I hope Universal Japan gets around to reissuing): From this site. Just ignore that Mulligan's also listed as playing the "soprano sex."

Their French section is pretty good, too. I'm glad they don't offer sound samples on their site — that could be disastrous. Now if there was just some way to "unclick" those reviews ... We've never listened to this album, but we're going to write about six or seven formulaic sentences to make it appear as if we did! Let's start by trying to reference the instrument and style the musician under consideration plays! But, don't worry, we'll be certain to use vague enough terminology — using phrases such as "modally searching," "off-kilter solos," and "hits that spiritual groove" — that you won't really be able to tell what we're talking about! Then we'll say something like "Trust us!" so that you'll somehow have confidence in such empty description! Then, to show how measured we are in our evaluation of a recording, we'll toss off something like " ____ plays without any of the clutter that you sometimes find on his earlier records" — but we'll definitely make sure to never cite what those "earlier records" are! (We sell those earlier records, too. They have a "sincerity" and "vigor" that the later records, whatever they are, don't.) Then we'll close by randomly listing some, but not all, of the album's compositions.

Yes! Glad you're digging it. I love that first version of "Little Niles." Weston's intro — could that play as the opening credits to a movie or what? (At least that's what I always imagine. ) I burned a different order for that disc just so that I could always start with that composition. The remastered sound really is fine, too. A recent OJC surprise for me was Eddie Daniels' First Prize. I picked it up not expecting too much, and was pleasantly kicked in the ass. Daniels seems to have combined, on tenor, the influence of Stan Getz and Wayne Shorter — a really interesting hybrid of sound and phrasing.

I don't, but have a feeling I will some time in the not-so-distant future ... Five years ago, the RCA set left me somewhat cold. Don't know why. Now I'm gaga over it. Last night in the car (by myself, thankfully) I was calling out "Manteca!"

I haven't heard Angle, but The Day Will Come is a marvelous record — deserving, I think, of the crown the Penguin Guide awards it. To my ears, the album is very structured while still improvisationally free (if that makes any sense). I sometimes wonder if Marilyn Crispell (slightly pre-ECM) listened to Riley, or if Riley ever heard Don Friedman when they were both developing their own respective approach to playing. At any rate, Riley, in my book, is a rare breed of pianist: forward-looking, but never without a sense of control. I love Cecil Taylor, but Riley is an altogether different branch of the Free Tree, and a branch that probably is a lot less commented upon.

Absolutely. I just thought that "Up in Quincy's Room" was a little ahead of its time for 1953. I think we're on the same page here actually, it's just that I may not have communicated my ideas all that clearly.

You're correct there. I thought that was what you were implying in your comment above. Your "ahead of its time" comment regarding "Mau Mau" had me think, conversely, that perhaps the other compositions weren't as "ahead" of their time. I was only suggesting that perhaps two other compositions were somewhat "ahead" as well.

Thanks for posting the e-mail, Mike. When I first heard that ostinato line, I was immediately struck, and laughed out loud. No one was home, but I yelled out "Quincy Jones wrote 'A Love Supreme'!" The cats may have given me an unbemused look, but that was about it. Of course, now that I know that Cliff Solomon's brother used to play pool with Coltrane in Philadelphia, well, that explains a lot ... But ... surely your man Gryce's composition "Up in Quincy's Room" doesn't sound like run-of-the-mill "1950's music," no? And how about Jones' "Evening in Paris"? Both these tracks sound a little more harmonically advanced to me than typical 1950's fare. Now, the track "Wildwood" — I could see how that might fit into something recorded at Webster Hall for RCA with Hank Jones, Milt Hinton, and Osie Johnson holding down the rhythm section. (I'm jumping the gun a little, but ... ) Does anyone else have this recording?

All Direct's price is $8.65 for regular OJCs, and $10.68 for the "limited" OJCs. Thanks to Quincy (far up above) for the tip on All Direct — making an order above $99 (for free shipping) is the way! If some titles aren't in stock, they'll ship the remainder of the order and still give you free shipping. I fleshed out the rest of the Ammons "blowing session" dates, added a Cobb, picked up more Art Farmer, got some missing McLean's, and (can't believe I waited forever on this one) finally picked up Tadd Dameron's Fontainebleu. Absolutely beautiful, that one! How is the sound on Dameron's The Magic Touch? All the sound samples I've listened to sound like there's bacon sizzling right in front of the mike. The music, however, is top-notch.

Well, I have the Porter (haven't read it), and don't have the Kahn. Strange coincidence. Are the pitches identical?