Late

Whoa, that's a weird forum. Interesting read, though! Has anyone tried this infamous coupon?

Before I make the plunge, any reviews on these? If a listener loves Lift Every Voice, how might these compare?

Our friends at Dusty Groove have been carrying the following at $6.99 for some time now. Great stuff. Surely there are plenty here who can wax eloquent on these sides. And, a bargain to boot! (Note: You get to hear some precious Harold Vick on Impact. And John Faddis in his Maynard role!)

Nicely said, Tony. The word I would use for Monk's Columbia period is "crystallization," in that his soloing and compositional ethos have been fully refined. We're not hearing Monk compositions, we're hearing Monk. The man's likely reached the pinnacle of artistry: full self-expression. Not many can do that, and not for lack of skill, but because they don't yet possess the rigorous and lonely dedication it takes to deliver a singular creative vision. Considering that perhaps Monk's creative peak was actually when he had no work and no caberet card, the Columbia recordings are testimony and praise to his unceasing conviction of the validity of his work. It's often transcendental stuff — you hear it, and can take unsparing comfort in being part of the human world.

Here's an updated list of the Connoisseur Series. It's slightly different than Couw's list as it adds in the West Coast Classics Series. Feel free to post any corrections! Series I (1994) Ornette Coleman – The Empty Foxhole Don Cherry – Symphony for Imrovisers Cliff Jordan and John Gilmore – Blowing in from Chicago Kenny Dorham – Whistle Stop Freddie Redd – “The Connection” Andrew Hill - Judgment J.R. Monterose – J.R. Monterose Bobby Hutcherson – Components Wayne Shorter – The All-Seeing Eye Johnny Griffin – The Congregation Tina Brooks – True Blue Baby Face Willette – Stop and Listen Series II (1995) Jackie McLean – Destination Out! Grant Geen – Green Street Grachan Moncur III – Some Other Stuff Wayne Shorter - Schizophrenia Andrew Hill – Smokestack Lee Morgan - Leeway Ike Quebec – Heavy Soul Pete La Roca - Basra Dizzy Reece – Blues in Trinity Freddie Hubbard – Ready for Freddie Lou Donaldson – Sunny Side Up Walter Davis Jr. – Davis Cup Series III (1995) Lee Morgan – The Procrastinator Grant Green - Solid Wayne Shorter – Etcetera Bobby Hutcherson - Patterns Hank Mobley – A Slice of the Top Series IV (1996) Grant Green – Sunday Mornin’ Donald Byrd – Byrd in Flight Here Comes Louis Smith Johnny Coles – Little Johnny C Jack Wilson – Something Personal Paul Chambers – Paul Chambers Quintet Ike Quebec – Soul Samba Harold Vick – Steppin’ Out John Jenkins – John Jenkins with Kenny Burrell Jutta Hipp – Jutta Hipp with Zoot Sims Sonny Red – Out of the Blue Dodo Greene – My Hour of Need Series V- (1997) Jackie McLean – Swing, Swang, Swingin’ Art Blakey – Orgy in Rhythm Vols. 1 & 2 Clifford Jordan – Cliff Craft Sonny Clark – Dial S for Sonny Horace Parlan – Us Three Horace Silver – Further Explorations Series VI (1997) Freddie Hubbard – Goin’ Up Bobby Hutcherson – Stick-up! Booker Ervin – The In Between Bennie Green – Soul Stirrin’ Jackie McLean – ‘Bout Soul Baby Face Willette – Face to Face Series VII (1998) Freddie Redd – Shades of Redd Horace Parlan – On the Spur of the Moment Larry Young – Into Somethin’ Ike Quebec – It Might As Well Be Spring Tina Brooks – Back to the Tracks Fred Jackson – Hootin’ and Tootin’ Series VIII (1998) Sonny Clark – Sonny’s Crib Hank Mobley – Third Season Lee Morgan - Infinity Art Blakey - Africaine Jimmy Smith – Softly as a Summer Breeze Bobby Hutcherson - Medina/Spiral Series IX (1998) Julius Watkins – Julius Watkins Sextet Vols. 1 & 2 Sal Salvador Quintet / Kenton Presents... Howard McGhee Vol. 1 / Introducing Kenny Drew Howard McGhee Vol. 2 / Tal Farlow Quartet Frank Foster/George Wallington - Showcase Gil Mellé - The Complete Fifties Sessions Series X (1998) Chet Baker & Russ Freeman - Quartet with Russ Freeman Cy Touff - His Octet & Quintet Bill Perkins - On Stage Jack Montrose - Sextet Jack Sheldon - The Quartet & The Quintet Bud Shank/Bill Perkins Curtis Amy & Dupree Bolton - Katanga Earl Anderza - Outa Sight Bob Brookmeyer - Traditionalism Revisited Teddy Edwards - Sunset Eyes Gerry Mulligan Quartet - Original Quartet with Chet Baker Bud Shank & Bob Cooper - Blowin’ Country Series XI (1999) Grant Green – Blues for Lou Bobby Hutcherson – The Kicker Jimmy Smith – Six Views of the Blues Art Blakey – Drums Around The Corner Lou Donaldson – A Man with a Horn Dizzy Reece – Comin’ On Various Artists – The Lost Sessions Series XII (2000) Andrew Hill – Grass Roots Don Cherry – Complete Communion Tina Brooks – Minor Move Lee Morgan – Taru Sonny Clark – My Conception Jackie McLean – Vertigo Kenny Burrell - Introducing Kenny Burrell Stanley Turrentine with the 3 Sounds - The Complete Blue Hour Sesions Sonny Criss - The Complete Imperial Sessions Series XIII (2001) Hank Mobley – Straight No Filter Andrew Hill – Lift Every Voice Booker Ervin – Structurally Sound Grant Green – First Session Don Wilkerson – The Complete Blue Note Sessions George Braith – The Complete Blue Note Sessions Series XIV (2002) Tina Brooks – The Waiting Game Freddie Redd – Redd’s Blues Hank Mobley – Thinking of Home Jackie McLean – Jacknife Chick Corea – The Complete Is Donald Byrd/Doug Watkins – The Complete Transition Sessions Series XV (2003) Andrew Hill: Passing Ships Larry Young: Mothership Charlie Rouse: Bossa Nova Bacchanal Lee Morgan: Sonic Boom Hank Mobley: The Flip Sam Rivers: Fuchsia Swing Song

Here's the aforementioned thread.

You may want to wait for the JRVG of this album, which will include the two bonus tracks. I believe it's coming out early next year. The track entitled "The Melting Pot" is a wonderful sextet "modal groover" (for lack of a better description), with a hip vamp by Herbie Hancock and Reggie Workman in unison. Joe Henderson's solo on this one is a knock-out. I actually started a thread on this some time ago in the Discography forum, where M. Fitz confirmed that Hosea Taylor was on alto for this recording.

As I hear them (and musicianship aside), the Prestige sides sound much better than the Atlantic sides. Some of them I would certainly call "essential." These would be: • Soultrane • Traneing In • Settin' the Pace • Lush Life The latter contains Coltrane's trio outing on "Trane's Slow Blues," and it's a marvel. Coltrane's solo here was the blues solo to transcribe when I was music school. Very hip. One that does't often get mentioned, but in my opinion deserves wider recognition is: • Wheelin' and Dealin' Frank Wess: flute, tenor Paul Quinichette: tenor John Coltrane: tenor Mal Waldron: piano Doug Watkins: bass Art Taylor: drums recorded September 20, 1957 This album certainly falls into the "blowing session" category, but I think it's far more engaging than, say, Johnny Griffin's A Blowing Session. Frank Wess rises to the occasion, and lays down some of the hippest tenor lines in front of Coltrane and Quinichette, as if to say Don't count me out, my brethren, because I also play flute. While Coltrane might be the more "modern" of the three, I think it's Wess who actually delivers the most exciting contributions on this session. And, as the cherry on the top of the sundae, you get to hear Art Taylor (I think it's Taylor) say "Shit!" after one of the faster tracks (— and of course now I can't recall the title). Though this is a "regular" OJC, the sound is damn near impeccable. And with Doug Watkins and Mal Waldron laying down the groove, well, .

I haven't heard any Morrissey. For those of you who have it, what do you think of this one? Or any other Morrissey titles?

Jad (Nick?), An early congrats on the newborn! I'll probably be making the Masada show at the Hult, so I'll post a report here. Couldn't believe he's having three shows in our little hamlet. One, evidently, is a commissioned classical piece that he's debuting, and the other is a Cobra (with local musicians?) performance. The wallet will likely only allow for one show, so it has to be Masada. I think I'm going to be in L.A. when Moran comes. But you'll pick up reporting duties, I'm sure. p.s. The city library has a copy of "West Coast Hot," which, if you haven't already checked it out, is a must-must-must listen. A double bill of the Horace Tapscott Sextet and John Carter-Bobby Bradford Quartet. It's usually checked out, but you can always place a hold.

Thanks for posting that, Mule. I've always been interested by etymologies, particularly with hazy words like this one, and have also noted that the word scat — in its musical definition — has no formal etymology. And I always thought that the case was closed on "jazz" as meaning to copulate.

Sonny Criss - Sonny's Dream (click here to buy) Previewed here.

Here are a few rules-of-thumb that I've come up with (out of necessity) to keep the backlog down: • Try to pay only cash for discs (or vinyl). It's amazing how this can curb an impulse shopping spree (or even a rational shopping spree). • Go to Alan Lankin's site, and use it to help you create a list of future purchases. • Try to stick to that list. • Avoid teasing yourself by "browsing," either online or in a store. For me, "browsing" often eventually equates with "purchasing." Argh! • Open some threads here with caution. For instance, why did I read the thread about 3 Columbia discs for $24 at Borders? Oh, I know: so I could have a reason to buy three new Thelonious Monk reissues. Argh! • Visit your local library. It turns out my library has a few OOP discs that I've wanted, and now I finally can listen to them! • Try to go on short "purchase droughts." Maybe, say, a month without any purchases. This can help in re-discovering your collection. One recent drought of mine helped me refamiliarize myself with Horace Tapscott, and how much I adore his music. • Try to avoid a backlash from a "drought" — e.g. after a drought, multiple purchases of the artist you've just refamiliarized yourself with. I'm not saying that I can always follow these rules (hell, I sometimes can hardly follow them at all), but they're at least there for me, in the middle of the night, when my veins cry out for their fix of certain reissues, and/or small label releases.

Have spun this once so far. Before getting ahead of myself, I'll just say that this is a good acquisition indeed. Where exactly was this recorded? I couldn't determine a specific location from the notes. The Netherlands?

The list game — always a favorite! Here are six Connoisseurs (had to add one more) that I have an inordinate affection for: • Ken McIntyre: The Complete United Artists Sessions • Andrew Hill: Lift Every Voice • Teddy Edwards: Sunset Eyes • Booker Ervin: The In Between • J.R. Monterose: J.R. Monterose • Gil Mellé: The Complete 50's Sessions I'm less moved by: • Howard McGhee: Volume One • Bob Brookmeyer: Traditionalism Revisited • Harold Vick: Steppin' Out • Baby Face Willette: Stop, Look, and Listen • Bud Shank: With Bill Perkins Overall, of course, this is a great series. I'm especially excited that Malcolm Addey has joined the mix in this series (— as I believe he's done the remastering for Andrew Hill's Passing Ships), and I hope he gets the opportunity to do a lot more. There's still plenty of room for a number of unissued or unreleased gems to find their way into this particular catalog.

Aha! My local library actually has this. Just saw it yesterday. Will have to go back to check it out. Dig the line drawing, too.

Would like to hear what any saxophonists on this board think of this one. Lovano's phrasing is starting to f :rsmile: ck with my mind. I lub it.

Ah, the elegance. Even have their pinkie fingers held out!

The Newest Sound Around is the only Lee album I have, but I'd have to go with Joe's remarks about it. Unusually moving singing. The intonation of Sarah Vaughn, something of the approach and phrasing of Betty Carter, and the relative purity of sound of Ella Fitzgerald. This is part of what I hear in Ms. Lee's singing. Oof. It's too much. Available for $11.99 right here. You almost can't afford not to have it. (Edit nearly eight years later: new jpeg of cover, plus Dusty no longer is carrying this title.)

Hard to fault the man's playing based on his contributions to the Plugged Nickel recordings alone. Good gracious. I've actually heard some "controversial" remarks too, but they were about Carter the person, and not Carter the bassist. At any rate, I've always treated them as mere speculation. The guy can play. And he can read Herbie Hancock's mind. Some of their exchanges on The All Seeing Eye are down-right scary.

I've always wanted to hear Three Waves, as it contains my favorite Carla Bley composition: "Ida Lupino." How does it compare to Paul Bley's covers? I've purchased so many Japanese imports lately, that I can't rationalize one more ... I can't ... can't!

The little solo spots Bill Perkins has on the soundtrack to The Subterraneans fit that "starting with an ending" description. Some of the hippest "short" solos out there. Also dig his contributions to Chet's big band album. For as much self-doubt as he may have had, he could deliver.

I hear the Powell influence, too. But, I also hear something else. Not really an influence, but an approach to stating a melody that is reminiscent of, I'd say, Lee Konitz. As Konitz often likes to allude to melodies, I hear some of this tendency in Silver's playing, at least at this time. I really like his treatment of "Ecaroh" here, which I know better from the Columbia Messengers album. On that album, all the lines played seem more direct (whether they really are or not), but on this trio session, they seem served up, how to say it, from the side. I think the longer you play this one, the more it will get into your veins. I played it last night during dinner, and the wife unconsciously began the head-nod on some tunes. Aha! And ... to go along with the Rudy-remasters-Doug-Hawkins theory, I think this again is one of Rudy's better efforts. Now we need the Hope's, Navarro's, heck – bring on the Silver album of the same cover (but in blue): the original studio Messengers album!

As he's posted in this preview thread, I thought I'd list the AOW Chairman for August 31st - September 6th. The nominated member is ... Joe Milazzo. (Applause!) Ghost, does that autobiography list the musicians that Tapscott intended for this session? Though I've heard that Tapscott was infuriated when Don Schlitten had already hired musicians for the gig, I can't say that Schlitten didn't make good choices. Who would have thought that Conte Candoli and (even) Tommy Flanagan would mold their own aesthetic so fittingly to Tapscott's music? At any rate, it would be interesting to see who Tapscott personally had lined up. If I remember correctly, only the drummer was Tapscott's choice. Now — must ... catch up ... on back-logged AOW's ...