Late

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?

Yep, those recordings are supposed to make up the "first" 4-disc Mosaic Select. The original stereo reels were discovered within the last year or so, but I haven't heard anything about that particular Select in some time. Michael Cuscuna e-mailed me about a year-and-a-half ago with very positive comments about how good the recent Japanese SBJC editions of California Concerts sounded, and that he'd likely use these remasters (done by Ron McMaster, I think) for American reissue. I haven't heard them, but would like to. It seems like they (these Pacific Jazz live recordings) would fit well with the EmArcy studio recordings to form a 4-disc Mosaic box set. I have all but the first studio session that Mulligan's sextet recorded for EmArcy, and the sounds are indeed fine. Maybe, as in the case with the Andrew Hill Mosaic Select, a steady (and polite) stream of e-mails would push this one through.

I did some searching around here, but didn't find any particular discussion on this set. I'm somewhat embarassed to admit that I spun this one this morning ... for the first time in about five years. Man, what a great set, and one I need to get back into. Others' thoughts? This is probably my favorite Diz on record.

Here's what I think is an accurate Mulligan Discography on EmArcy: A Discography of The Gerry Mulligan Sextet On EmArcy compiled by Kiyoshi Koyama Jon Eardley (tp), Bob Brookmeyer (v-tb, p), Zoot Sims (ts) Gerry Mulligan (bs, p), Peck Morrison (b), Dave Bailey (ds) New York City, September 21, 1955 12044-1 Bernie's Tune MG 36056 12045-7 Mud Bag MG 36056 12046-1 Blues 195J-35 12047-1 The Lady is a Tramp 195J-35 12048-3 Duke Ellington Medley MG 20453 12049-1 Demanton 195J-35 New York City, September 22, 1955 12050-1 Apple Core MG 36056 12051-4 Broadway 195J-35 12052-5 Sweet & Lovely (take one) MG 36056 12053-1 Sweet & Lovely (short version) 195J-35 12054-5 Bernie's Tune (short version) 195J-35 12060-5 Westwood Walk MG 20453 12061-3 Blues MG 20453 12061-2 Blues (alt. take) 19J-35 New York City, October 31, 1955 12296-4 Broadway MG 36056 12296-5 Broadway (alt. take) 195J-36 12297-1 Demanton (alt. take) 195J-36 12297-12 Demanton MG 20453 12298-6 Nights of the Turn Table MG 36056 12299-1 Everything Happens to Me (alt. take) 195J-36 12299-2 Everything Happens to Me (alt. take) 195J36 12299-4 Everything Happens to Me MG 36056 12300-2 The Lady is a Tramp MG 36056 12300-4 The Lady is a Tramp (alt. take) 195J-36 New York City, January 25, 1956 same, except Bill Crow (b) replaces Morrison 12428-5 Westwood Walk 195J-36 12429-17 Ain't it the Truth MG 36101 12430-2 Mainstream MG 36101 12431-8 La Plus Que Lente 195J-36 New York City, September 26, 1956 same, except Don Ferrara (tp) replaces Eardley 14179-2 La Plus Que Lente MG 20453 14180-8 Igloo MG 36101 14181-2 Makin' Whoopee MG 20453 14182-3 Elevation MG 36101 14183-3 Lollypop MG 36101 14381-1 Root Blues MG 36101 Catalog No., Album Title: MG36056 - Presenting The Gerry Mulligan Sextet MG36101 - Mainstream of Jazz: Gerry Mulligan Sextet MG20453 - A Profile of Gerry Mulligan MG36088 - Under One Roof (Various Artists)

Well, maybe it's not Wade. I don't know what Oliver Beener looks like ...

I think that's actually Wade Legge. At least it looks like him to me. From left-to-right, it would be: Bill Crow, Wade Legge, Zoot Sims, Bob Brookmeyer, Dave Bailey, Gerry Mulligan Of course, I've never heard that configuration for Mulligan's sextet. I just posted the photo for fun. Jon Eardley (and/or Don Ferrara) aren't pictured.

Now that we have The Concert Jazz Band Verve Recordings on Mosaic, how does a Complete Sextet box sound? What exactly would/could be included from the EmArcy and Pacific Jazz recordings? And what other sessions might fit into such a box?

What actually keeps me from visiting their site too regularly is their reviews, which never fail to fold my stomach. But I've been their (pardon the expression) bitch since 1999 — have only ordered from them, oh, about 50+ times ...

The Art Farmer Septet Plays the Arrangements and Compositions of Gigi Gryce and Quincy Jones 1. Mau Mau (Jones-Farmer) 5:15 2. Work of Art (Jones-Farmer) 5:46 3. The Little Bandmaster (Jones-Farmer) 4:06 4. Up In Quincy's Room (Gigi Gryce) 4:00 5. Wildwood (Gryce) 2:55 6. Evening in Paris (Quincy Jones) 2:41 7. Elephant Walk (Jones) 3:25 8. Tiajuana (Gryce) 2:49 9. When Your Lover Has Gone (E.A. Swan) 5:10 on (1-4): Art Farmer: trumpet Jimmy Cleveland: trombone Cliff Solomon: tenor saxophone Oscar Estell: baritone saxophone Quincy Jones: piano, percussion Monk Montgomery: electric bass Sonny Johnson: drums recorded July 2, 1953; New York City engineer: Doug Hawkins on (5-8): Art Farmer: trumpet Jimmy Cleveland: trombone Charlie Rouse: tenor saxophone Danny Bank: baritone saxophone Horace Silver: piano Percy Heath: bass Art Taylor: drums recorded June 7, 1954; Hackensack, NJ engineer: Rudy Van Gelder on (9): Art Farmer: trumpet Barry Harris: piano Doug Watkins: bass Art Taylor: drums recorded August 3, 1956; Hackensack, NJ engineer: Rudy Van Gelder In light of the Fantasy catalog recently being purchased by Concord, I've been spinning a lot of OJCs lately. This recording always stands out to me as one deserving wider recognition. Not only does it have fine writing from the pens of Gigi Gryce and Quincy Jones, but the septet line-ups offer some interesting combinations of players. Check out the first session, for instance — Monk Montgomery on electric bass! A somewhat unusual circumstance, it seems, for 1953, but the electricity here seems to serve a purpose, what with Montgomery's pizzicato lines (moving between walking and ensemble passages) being clearly projected through amplification. You also get to hear Cliff Solomon on tenor saxophone, whose fine playing I only know from this album. Listen to the first track, "Mau Mau." Is Quincy Jones the actual composer of "A Love Supreme"? I'm only partly kidding — the ostinato line (right around 1:41) that Solomon, Cleveland, and Estell play behind Farmer's solo appears to be the same, syllables and pitches: a-love-supreme, (a)-love-supreme. Craziness. The last track, from 1956, is appended to the album from Farmer's Two Trumpets session with Donald Byrd, so it doesn't really fit with the septet billing, but what a gorgeous way to close the record. Beautiful ballad playing by Farmer. I'll be interested to read what you all have to say about this one! Late AMG Review