Late

Carrie Bradshaw dated Alexandr Petrovsky until she realized that she would always come second to his light installations ...

Really? That's strange, as my English EMI edition has Things Are Swingin' paired with Jump for Joy: Another fine one ... That was a fine series (is it still going?) — the English Capitol/EMI two-fer series of vocalists. Some fine Julie London and (even) Dean Martin could be picked up that way ...

David mentioned Don Ellis above, and I'd single out the following album as a "must-have" for anyone even remotely interested in "progressive" trumpet playing ... Just look at the line-up: Don Ellis: trumpet Al Francis: vibraphone Jaki Byard: piano Ron Carter: bass Charlie Persip: drums recorded in Englewood Cliffs, New Jersey May 11, 1961 supervised by Esmond Edwards There is certainly some "out" playing here, and relatively early (1961), all things considered ...

I've never even heard of this record (or Tatro for that matter). What else can you tell me about it? Tatro played the tenor saxophone in Stan Kenton's orchestra when he was a teenager, but largely gave up the horn (whether or not entirely, I don't know) to focus on composing in later years. Jazz for Moderns uses two different octets. If you like Lennie Niehaus on Prestige, or Teddy Charles' stuff, you'll probably like this album. Here are the details: 1. Backlash 2:58 2. Multiplicity 2:50 3. Minor Incident 3:27 4. Turbulence 2:10 5. Low Clearance 3:01 6. Folly 2:19 7. Dollar Day 3:38 8. Easy Terms 4:13 9. Outpost 3:09 10. Maybe Next Year 2:57 11. Conversation Piece 3:02 Stu Williamson: trumpet Bob Enevoldsen: valve trombone Joe Eger or Vincent de Rosa: french horn Lennie Niehaus or Joe Maini: alto saxophone Bill Holman: tenor saxophone Jimmy Giuffre or Bob Gordon: baritone saxophone Ralph Peña: bass Shelly Manne: drums recorded in Los Angeles September 1954 - November 1955 supervised by Lester Koenig Sound Samples. The music is definitely not about "emoting" in the conventional "out" sense, but rather various degrees of dissonance and resolution. Joe Maini does, however, get in some fine (if brief) solos.

What Lacy have you all been listening to? The most recent Lacy disc to come out of my player was Futurities, Part I. I know Part II better, but am really getting into Part I. Here, Irène Aëbi is essential (so don't go there if you can't stand her) ... and I bet Creeley loved the result of his poems put to music.

I don't have Black Coffee (wish I did), but another "jazzier" side of Lee can be found on Things Are Swingin'. That one holds up over time.

I'll also have to go on the assumption that most here have the Lacy OJCs, namely the date with Don Cherry. Great stuff.

How one defines "progressive" or "out" is always a relative thing, of course. That said, all the sessions (led and co-led) by Eric Dolphy are worthwhile, as are the two sessions by Ornette Coleman. I'd particularly single out these three sessions: Most here, I'm guessing, have this one. Great to hear Taylor with vibes. I always find something new in this record when I return to it. Four-and-a-half stars (sometimes five) in my book. Simmons, in particular, rips it up, and you can hear what Mingus must have heard (as he hired Simmons for a brief period) in his playing, most notably in the feature "Bojangles." Scott Yanow gives a surprisingly harsh to this one, but I find it to be one of the "missing links" in West Coast Out. (I'll let everyone decipher that term for themselves.) Very subtle at times, but consistently worthy of repeated listenings.

Seconded! Sound Samples.

... branching off, but somewhat related: got an e-mail from Rudresh Mahanthappa last week. He just gigged recently with McPhee somewhere in NYC. Anyone hear any of the shows?

I'm guessing the topic's been touched on somewhere above, but I'm interested in hearing Daunik Lazro solo. Any recommendations? I haven't heard anything by Lazro, but have read that Joe McPhee lists Lazro's solo work as influential/inspiring.

Here's the reply I got this evening: Yes we are thinking about the Mulligan sextet (Verve and Emaracy). Currently working on a Select of Mulligan's December 57 PJ sessions (annie Ross, Reunion, Songbook in stereo! and string date). MC Sounds like good news ...

Great to have you here Anatol! I've enjoyed your liners through the years. The Chronological Classics Jazz Series is a fine series indeed, and having your input on this board will be most welcome. (Really digging the Red Norvo CCs ... )

Out of curiosity, I tried burning that Gillespie disc onto a standard (79:59) CD-R. It gave me one extra second (80:00), and then cut the last tune short ... :rsly:

The Ken Burns' Dizzy Gillespie disc is 83 minutes. Has the great early track "Pickin' the Cabbage" on it ...

I suppose the same logic could be applied to Hank Mobley, Cannonball Adderley, Donald Byrd, Red Garland, Doug Watkins ... But I do think that Taylor's soloing has a distinctive signature to it. Yes, he's of the Philly Joe mold, but his touch seems lighter, and there also seems to be less bass drum "bombs" in his playing. While I might personally like Philly Joe's solos "better," Art Taylor's solos and ensemble work often have a subtlety to them that can go unnoticed.

!droW

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.