Late

I hear where you're coming from, but I guess I'd have to respectfully disagree with most of these arguments. I've often thought the very opposite in regard to the "paler imitation" idea. I actually find that later Shank recordings are more homogenous — with the almost-predictable "fire" (a la Cannonball or Sonny Stitt) of a neo-bop date, and lack the character that Shank actually did create — but in hindsight is vocally not proud of — from his Pacific Jazz years. I think Shank's argument regarding the restrictions he felt while with Pacific Jazz runs along the lines of: Bock wanted him to play flute (and double on tenor and baritone) because this seemed to attract a larger audience — particularly as the flute/oboe combination with Bob Cooper had garnered some popular success. Well, I don't know. He did have a fair amount of alto space to stretch out on (as the Mosaic makes clear), and I don't necessarily think that Bock's fingerprint for any specific kind of restrained alto improvisation is present. Instead, I think Shank's own ideas of what he should record at that time make up the largest determining factor for what got recorded. I think that, now, Shank doesn't particularly care for what he might consider effete, or delicate, playing from those earlier years, while — though he might not want to consider such an angle — this very style of playing (which was not without imagination) created its own niche at the time, positing a valuable alternative for listeners to contemporary players recording in New York. And, besides, there's some fine flute playing from those years! I met, and actually had a chance to play with, Shank in 1988. (This was a high school "All-State" jazz band, and Shank was the featured guest. He took all the alto solos — which was fine with me, actually — and rehearsed the saxophone section for a day.) And, yes, he even brought up the "I didn't want to play the flute" frustration tale then. But, the fact of the matter is, that flute playing brought in a fair amount of bread for him! Personal business decisions were often at play here. So, even in hindsight — though he seems to wish he had developed a harder "East Coast" edge to his playing — I think it's not that he was under-developed as an improviser, but that outside (meaning essentially economic) forces became a strong influence in how he played, and what instrument he played. The first surfing soundtrack on the Mosaic, I think, is a perfect example. Who else — of those recording in California at the time — could have recorded this? Buddy Collette? Probably not, at least not with equivalent results. Herb Geller? Maybe, but perhaps not with the same sense of tasteful reservation. That quartet, with Billy Bean's guitar playing making an essential contribution, was an important, if brief, moment in the music — one that seems not an imitation of any other quartet, but a modest, and at times quiet, development of one facet of improvised (jazz) music. Shank's Pacific Jazz recordings I think do require a certain mood to be effective, and if one only wants to hear, say, resonances of Moanin' in the albums they play, Shank simply won't cut it. And that's fine. But, more importantly, I think Shank's own feelings about his playing when he was younger unfortunately discredit the very inventiveness that he sees lacking in that period. Is an artist the best judge of their own work? It seems that the answer should always be "yes," but perhaps in this case past and peripheral regrets have somewhat obscured this artists's judgment of his own work.

My pick, too. Put him with Red Mitchell and Shelly Manne, line up a string of say, oh, six or seven trio sessions on Contemporary over the span of three years. I'd be happy. Very hard not to want to hear Gilmore leading his "own" quartet or quintet. Would like to hear Pat Patrick in such a setting too. (Didn't Patrick actually make a leader session at one time in the late 50's or early 60's?) Two more pianists: • Amos Trice • Ronnie Ball And how about a few more Cy Touff leader outings?

Indeed. (And on Morgan's Indeed! as well.) Clarence Sharpe and Kenny Rodgers? Ouch. Imagine Mariano or Herb Geller in a front line with Morgan at that time. Whew.

... then you'll want this one: Michael Formanek's Am I Bothering You? Not quite as ecstatic as Was Da Ist, though a very fine solo bass outing. Formanek even comes up with some extended techniques that Kowald didn't (hard to do)!

Haven't heard it, but this album has been available twice in a Japanese edition on compact disc ... with the original cover art. I'm assuming the remastering would be better. Here's a pricey copy.

I couldn't agree more. For such a relatively small city, what a delight. I can't wait to see (and hear) what next year's series brings. I have a ticket for Dave Douglas in May, and will probably have to pick up a ticket for Dave Liebman very soon.

"Go" was the only tune I recognized as well. It was a fine concert. That rhythm section is alive. That was my first exposure to Brian Blade, and his playing was an absolute joy. Not only does he have open ears — the way he was listening to Perez (perhaps moreso than to Pattitucci), playing with, then in the next second against, Perez's own rhythmic figures — but he plays every inch of those drums. Not a muscular drummer, say like Elvin Jones, but a dynamic drummer, say like ... Tony Williams. This band — it's so hard not to imagine when you listen to them — evokes, if not actually invokes, the spirit of Davis's 60's quintet more authentically than any other group I've heard, in the studio or live. If I were to offer any criticism — and I would hesitate to call it an actual "criticism" — it's that I wanted more from Wayne's tenor playing. But, note, I'm coming from the severe disadvantage of only really knowing Wayne's work up until about 1972. (32 years more to go!) It seemed to me that his tenor playing often favored long tones and short bursts of notes rather than any developed lines — which, of course, is perfectly allright, but it did make me wonder about his capacity to sustain extended ideas. It's probably not a fair comparison, but when you hear Sonny Rollins these days (a player roughly in the same age bracket), you still hear an athleticism in his playing — meaning, he can still tackle, and is still willing to tackle, any sort of line that might jump into his head. I didn't get that impression with Wayne's tenor playing, almost as if lung power, or simply age, might be prohibitive. Now, on the smaller horn, I had an entirely different impression. To me, when Wayne picked up the soprano, the intensity of the music seemed to take one giant step forward. Pattitucci started bobbing his head, Perez would lay into the keys, and Blade would drop those amazing (and wonderfully loud) bombs. I love Wayne's sound on tenor — up to this day — but for me his soprano playing (based only on last night, of course, and the previous admission of how far along I know his work) contains his most focused energy. This is a band that really seems to like each other, even embracing at the show's end. Wayne Shorter, when you stop and think about it, truly is a living legend for this music, and I'm glad, and appreciatvie, I had the chance — only having to drive 12 blocks! — to see and hear him perform live.

7:30 p.m. I'll be there too. (But in the balcony.) Saw Brad Mehldau just last night at The Shedd. That place, if I do say so, has great acoustics. Even Mehldau made mention of them.

And you'll particularly want the Julius Watkins and Gil Mellé sides.

Garth, Strange that you point that out — when listening to the album, I was thinking "Art Farmer's cookin'!" And then, when I made this post, I thought, "Jeez, I've never heard of Peter Urban." Yes, great version of "Nature Boy" on this one. I'm going to have to dig into those OJC's. Ka-ching.

Some artists just keep slipping under your radar. You see their names in the rack (or online), and then, you don't know why, you just pass them by. Until last week, Teddy Charles was an artist of such a fate for me. I always knew I should have some Charles in my collection, and now I'm glad I do! As it relates to my current fascination with the work of George Russell, I scooped up this one a few days ago: I generally avoid reissues on Collectables, but this one isn't so bad. The remastering is fine if not excellent, and the music ... is great! Just look at the (unique) line-up: Peter Urban: trumpet Gigi Gryce: alto saxophone J.R. Monterose: tenor saxophone George Barrow or Sol Schlinger: baritone saxophone Don Butterfield: tuba Teddy Charles: vibraharp Jimmy Raney: guitar Mal Waldron: piano Teddy Kotick: bass Joe Harris: drums I don't know why, but I often love recordings with bands that are 8-10 in size. Not authentic big bands with "sections," but groups with augmented frontlines and "rhythm" sections. At any rate, would like to hear what you all think of this one, as well as read any suggestions/recommendations for more Charles work. (I did a search before posting, and it looks like the MOMA concert on Fresh Sounds, with Bookers Ervin & Little, comes highly recommended, as does the as-of-yet-unissued-on-compact-disc Russian Music recording on United Artists.)

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? I promise I don't know any answers for any of my other questions!

OK, trivia questions in the spirit of this thread. 1. Who has never changed their avatar? 2. Who has never had an avatar? 3. Who has changed their avatar the most? I'm not saying I know the answers ... I don't.

This one? Don't have it, but dig that cover.

I came to Mariano almost exclusively through sideman appearances: his scorching solo work on Mingus's two Impulse! sessions, his lone horn appearance on Dear John C., and ensemble and solo appearances on both the Chaloff and Kenton Presents Mosaics. But, for whatever reasons, not until recently did I pick one of Mariano's own sessions as a leader. This one is one tasty recording, a quartet session with Mariano on both alto and tenor. The ghost of Bird must have made a stop that day at Rudy's studio, sat back, and laughed with admiration and respect for one of his disciples. The thing that seems to differentiate the playing here from other bop-inspired sessions of the era (from the likes of, say, Sonny Stitt) is that Mariano often puts that extra oomph into his lines. Even though he's using Bird's words, there's still a lot of meaning in how they get said. Nothing trailblazing going on here, but it's nevertheless an enjoyable slippers-and-coffee date from start to finish. What Mariano do you like/prefer? I know his music, especially during, and after, his marriage to Toshiko Akiyoshi looked toward different directions.

Brad, if you don't have it already, you'll want to look for The Artistry of Pepper. I think it's much more interesting than Tenors Head On (which isn't a bad record), and the frontline of Perkins and Pepper is a fresh one. Well recorded too.

Going to see (hear) Wayne in six days! I probably won't recognize any of the newer compositions, but if I do, I'll post here. The guys probably won't need water bottles here, though — the weather is just starting to warm up. A whopping 68 degrees today!

Red, As John already mentioned, this is a good place to pick up a lot of early Newk. (Not all, but most.) You not only get Johnson Prestige sessions (with Kenny Dorham in tow), but the Savoy session that yielded Rollins' first recorded composition ("Audobahn"). Rollins is in fine (if still developing) form throughout (on the tracks he's on, that is), and the disc itself has joyous bebop from start to finish — with notable appearances by Sonny Stitt and Cecil Payne. It's actually a disc that gets a lot of play over here. Highly recommended. Now ... Jazz Factory (or was it Definitive? -- same thing) actually put out two compilation discs (one recently, one a few years ago) of "complete" early Rollins, so you can actually go that route, too. I don't think they overlap, and, together, you'll get all the studio sideman appearances up to, I think, 1951: the Gonzales, Johnson, Powell, and Davis sessions, along with Newk's first for Prestige. I haven't actually heard these discs, so I can't comment too much otherwise. You will certainly want to explore the grey market recordings from 1959-1968. Some of Rollins' most brilliant, if at times erratic, playing. There are still concert recordings from this period that are lingering in private collections, and a 30 minute documentary as well. I wish, somehow, that Rolllins estate, or someone connected with Rolllins — in positive business fashion — would collect these concert recordings into one organized box set ... especially while the man is still alive, and might benefit from sales.

I believe this is how my parcel was shipped. (Took ten days.) Overall, no complaints, but it would be nice, I guess, to know what options exist. What is SAL?

Did you have to ask Hiroshi if you could pay in U.S. dollars?

I paid in yen for my last Tanno transaction, PayPal tacked on "their" conversion rate, and the order total was still $39 less than if I'd ordered from, say, Dusty Groove. Does Hiroshi actually offer shipping options?

Aw heck, they aren't so bad. Now, the rats in the Funny Cat thread, that's something entirely different ...

Amen to that. Personal discovery will always be integral to any kind of discovery process, but it never hurts to be aware of, in some way or another, commonly acknowledged landmarks of a creative art. Besides, we're just responding to the initial post, right?

It's on slate for the (U.S.) RVG rodeo, and it sounds great. (The JRVG of Black Fire sounds great, that is.) Judgment sounds even better (to me), and Smokestack has been wildly improved over the last (Larry Walsh) remaster. I couldn't wait for the U.S. pressings, and dropped some yen-dough into Mr. Tanno's pockets.

I seem to recall that Cuscuna was mulling (positively) over Where is Brooklyn?. I think Compulsion is a good call, too (though I'd personally opt for Andrew!!! or Involution first). I also wouldn't be surprised to see Gerry Mulligan's Complete California Concerts, using the recent Japanese re(Mc)masters, come out as a two-fer. Natural Essence, plus one track from The Train Wreck (so that TOCJ owners would have to re-purchase)?