Late

• Recommend a favorite version of this Sonny Rollins composition. Familiar or obscure. AND/OR • Who would you like to hear cover "Airegin"? Any combination of musicians. Any genre.

Glad you dig.

https://www.youtube.com/watch?v=dJ5ORdM6ZQk

Whoa.

Nice memory. Nice record, too. Though I hope your copy was less than $710!

And from the other side of the time spectrum:

Best-sounding version I've heard. Joe Farrell on English horn! Pepper Adams sounds uncomfortable to me on this record, and I actually think that makes his solos better; he can't fall back on "The Knife" (Mel Lewis's nickname for Adams?) licks. Of all these new SHM-CDs, the Monks are two discs I can recommend without reservation. Let the board know what you think after you've heard it.

Where were you buying your records in the 60's? You purchased Strange Blues around 1967? I didn't buy my first jazz record (vinyl) until 1986 — I was Ray Draper's age! Vancouver, British Columbia. I forget the name of the store. The record was Tenor Madness. My saxophone teacher at the time told me that I should check out Sonny Rollins and John Coltrane. I saw that record and thought, hey, both guys! That began my fascination with Sonny Rollins' work. Coltrane hit me about a year or so later. Then, in 1988, compact discs were flooding the market, and I stopped buying vinyl. Another note about Strange Blues — I've always been interested in the one-off rhythm section of Jon Mayer (listed as John Meyers), Bill Salter, and Larry Ritchie. How did Jackie end up bringing them into the studio (and never again)? Here's what some internet research turned up: • McLean knew Ritchie (drums) from The Connection. Ritchie played into the 60's, then shifted his focus to painting. • Jon Mayer (piano) recorded with Ray Draper and John Coltrane for A Tuba Jazz, and then dropped out of the scene for around 13 years. He later re-emerged, still playing, in the Los Angeles area. He made quite a few records in the 80's and 90's. Anyone have any? • Bill Salter (bass) went on to perform with a long and varied list of musicians: Miriam Makeba, Yusef Lateef, Roland Kirk, Lena Horne, Pearls Before Swine, The Bee Gees, Bette Midler, and more. I hear you. His solo work on his own record (Prestige) with Coltrane is fairly painful to my ears. The Strange Blues solos are much simpler, clearer, and as a result (to me) more rewarding.

Mengelberg's solo album on BUZZ, entitled simply Solo, reminds me of Monk in places. But Mengelberg feels to me more like an extension of Monk, as if he's absorbed the Monk he's interested in, and then moved onward. His chops are deep and serious, but his playing also reflects, at times, a certain amount of sarcasm that, instead of coming off as humorous, to me just feels obnoxious. But that's just a personal reaction. Braxton would probably call Monk a "restructuralist" rather than a "stylist," though I think I get where Iverson's coming from. I can't say that Iverson's own playing has clicked for me, but I think, not unlike Wynton, he's an important ambassador for the music, which is not at all meant as damning praise.

The only Wynton album I've held on to is: There's an insightful interview Ethan Iverson did with Wynton that goes over this club recording. Gave me a fuller appreciation for Wynton the person. As far as Monk, I haven't heard the album in question. When I see Monk covers on albums, for some reason it's usually (and unfortunately) a turnoff. Not always, but in general. I guess I just like to hear Monk play Monk, which means I miss out on probably some very good music. I'm a huge fan of Steve Lacy, for example, but have very little of his Monk work. Lacy Plays Lacy — that's far more exciting for me.

https://www.youtube.com/watch?v=ax6cx928elU

Prestige 7500 Few play the blues like Jackie. Released ten years after it was recorded, and pulled together from three different sessions, this record works on its own terms. "Strange Blues" and "Not So Strange Blues" bookend the album, and display some of the grittiest McLean from the 50's. The tuba sextet tracks contain what I think are some of Ray Draper's best solos of the period — full of humor, song references, and a cleaner than usual articulation — all from a 16 year-old. It's one of my favorite Prestige dates. When was the last time you spun this record? Impressions?

(All sold — thanks!)

https://www.youtube.com/watch?v=ggdZ2JxYIOk

Just to be clear, I was referring to Puttin' It Together here (i.e. Garrison's bass up front). I'll have to relisten to The Ultimate to see if I have the same impression. The bass sound on the first session, while noticeably louder, doesn't seem to distort, which is a good thing.

This recording has always been problematic — sonically — it seems. But, agreed, the music is wonderful. I haven't heard a better version than the UCCQ; good to agree on that. There was never (to my knowledge) a BN Works TOCJ of this title, so there were/are (I think I'm right here) only four versions: (1) McMaster, (2) Collector's Choice (which is really the McMaster again), (3) Japanese Rudy Van Gelder edition, and (4) the current UCCQ SHM-CD. (Oh, maybe there's a domestic RVG? I stopped following that series.) I think the UCCQ is considerably improved over the McMaster, but the piano will always sound kind of wonky (to me at least). The biggest improvement, I thought, was in the horns. I have ​The Prisoner on order. Can't wait for that one. While I'm familiar with the music, I've never actually owned a compact disc of this album! ========================== One of the risks a person runs by posting positive reviews of a disc is that others will be encouraged to purchase it ... and then may not agree with the reviewed assessment. (Gulp.) So, I'm trying to be measured with my mini-reviews, but so far, just so board members know, I'm probably biased toward this series. I'm really enjoying it so far. The Bud Powell disc (as previously mentioned) has the unfortunate first track, but even that disc has its rewards. ========================== Here's what I've been listening to today: UCCQ 5051 • Elvin Jones: Puttin' It Together TYCJ 81086 • Elvin Jones: The Ultimate TYCJ 80168 • Elvin Jones: Poly-Currents TYCJ 81096 • Elvin Jones: Coalition TYCJ 81072 • Elvin Jones: Genesis I first have to say that I'm enjoying listening to these discs as separate "albums." I actually sold my Mosaic set to fund the purchase of these discs (with a modest profit in return). True, the above five discs are only part of the Mosaic. A fair amount, but not all. That said, with some exceptions, I like the sound of these SHM-CDs more than the Mosaic. Now, there was nothing wrong with the Mosaic set! It has a "neutral" sound to its remastering that many will prefer over these SHM-CDs. (I'm not trying to make converts!) A few notes so far: • The first three sessions (Puttin' It Together, The Ultimate, Poly-Currents) sound the most "improved" over the Mosaic, mainly in regard to how Elvin's set is clarified in the mix. Maybe I'm making this up in my mind, but the separate parts of the kit sound more distinguishable. The bass drum is definitely more noticeable. Joe Farrell (on the first session) sounds remarkably good. Garrison's bass — for those who prefer a less aggressive remaster — is not going to please. It is very much up front. (Don't sell off your Mosaic.) • The "Coalition" disc. The bass drums peaks on this one in places. Maybe my stereo isn't set up well enough (power, I don't know), but there are places when the bass drum fills the speaker in an uncomfortable way. Horns are placed back, but do sound good. Wilbur Little's bass fares the best in my listening so far. I like this session, but I'd probably have to say that the Mosaic has the edge. • An aesthetic note. The additional (color) photos of Elvin on the inlay card are a really nice touch. Very cool in his corduroy suit! By the way, I think it would be good, in general, if others posted their own reviews of this series, especially if they contrasted with mine. Good to have differing views. Mine, as you can tell, are not informed by data.

Nope — just wishful thinking on my part. I don't even know if the series is continuing past March, though I suspect so. In the post above, I was simply hoping that those three titles would be included in the reissue series. I'll have to do more close listening before I can post any more mini-reviews (with any degree of conviction). That said, checking old discussion in this thread: • The Thelonious Monk titles were discussed waaaay back in this thread — I'd strongly recommend those. • The Miles Davis titles I didn't find much of an improvement over the BN Works TOCJs, but if you don't have the TOCJs, then — yes— I'd recommend the TYCJ Davis titles (especially because they contain the extra material). I (personally) was very unhappy with the RVGs, and the McMasters were solid, but (again, to me) a little lifeless. I know that's not very technical — just a personal response. • If you have the old Malcolm Addey editions of the Ornette Coleman titles (Love Call, New York Is Now), you might not need the TYCJs. I like the TYCJs, but the Addeys are more than sufficient in my opinion. I'll post some more once I've done my "homework."

TYCJ 81024: Sonny Rollins, Vol. 2 This series seems to do mono especially well. I never owned the BN Works TOCJ of this title. I have owned the McMaster and JRVG. This edition, to my ears, trumps them both. This title isn't too loud (except for possibly the bass at points). What I noticed first was the precise depth of the soundstage — Rollins is up front, Jay Jay slightly behind and to the left, Monk is more recessed (except for solos) than on the McMaster, Chambers is exceptionally clear and close-miked, and Blakey is to the right. It's interesting to compare Silver with Monk on this date (sonically, not musically — that's another discussion). I'll have to listen again, but it sounds like Silver is closer in the mix when he plays; it might be how Rudy responded to the two pianists playing. The JRVG of this title was actually decent, but the bass boomed uncomfortably (at least on my system). It doesn't boom on the TYCJ, but it's still fairly loud, which leads me to believe (perhaps incorrectly; I don't really know) that Chambers was miked closer than usual. That said, I hear no bass distortion or peaking on the TYCJ. (But I don't check these things with graphs or DR report charts. Just going by strictly unofficial ears.) At any rate, the mono feel is very much alive on this new SHM-CD edition. "Reflections" is absolutely gorgeous, though it sounds like Rollins was a little further away from the mike here. This track makes me long for a "Thelonious Monk Songbook" set of recordings with Rollins as the sole horn. (Five volumes, at least.) Overall, I'm very happy with this issue — a recommendation. Oh yes — I haven't heard the hybrid SACD of this recording. I like what Analogue Productions has done with their take on Blue Note, but sometimes it feels a little too polite. (In general, though I only have three of them, I like the Blue Note XRCDs better.) The TYCJ/UCCQ series are (as mentioned before) a little aggressive, but not in the way (to me) that the Rudy Van Gelder series is. I only have two RVG titles any more, so that should indicate my preference regarding that particular series. My only objective in these mini-reviews is to share the kind of information that I'd like to read before potentially making a purchase. I am not in possession of audiophile ears or (for that matter) audiophile equipment • — I just like to pay attention to the music. • Rotel amp and CD player; B&W speakers, but at the lower price point of both products; smallish listening room

Just an FYI: This series is currently on sale at HMV — buy 2 or more titles, and the price is 1555¥. Even though HMV's shipping is more expensive than CDJapan (and HMV doesn't use cardboard boxes), the total price still comes out a few hundred yen cheaper than CDJapan. HMV's turnaround is also speedy. I've twice received packages in four days from Japan. Both places are great in my experience.

In 2001, Fantasy put out this disc. Is this the one you have? Oh but it

Been paying attention to Flanagan on All Day Long and Burrell's Prestige 7088. Refined, but so damn hip. Sometimes it's a lot of fun to listen to a record not so much for its solos, but for the comping (of the pianist). I'd forgotten I started this thread ... ten years ago.

The version with bonus tracks — including the previously unissued normaphone transcription of the Mahler Violin Concerto.

Here's a (then) 16 year-old with some serious jazz flute chops: https://www.youtube.com/watch?v=5sl-R0qSTgs&list=PL2D78D796557B3497&index=5 OK, back to the proper discussion ... !

I realized that The Modern Jazz Disciples haven't been mentioned in this thread yet. Their two albums on New Jazz are part of this reissue series: Curtis Peagler: alto, tenor saxophones William Kelley: normaphone, euphonium Bill Brown: piano Lee Tucker: bass Roy McCurdy: drums In case you're wondering what a normaphone is, here's a picture: It seems gimmicky at first, but not the way Kelley plays it — very fluent trombone-range valve playing. Check it out here: https://www.youtube.com/watch?v=dbJ_ludgTWk&list=PLVjiT0bRFnUrcPDnDv4Pmt4g_iN3wa3B7&index=2 Peagler is no slouch on the saxophone. In fact, he seems unfairly neglected. His alto playing reminds me of Andrew White's from the (also obscure) JFK Quintet. I didn't know that Fantasy put out a 2-fer back in the day (probably still available), but there you go. Anyone here have these discs?

I hope my mini-review was measured enough. I think you'll like this new edition. For me, at least, this album now has new life to it. I also thought about mini-reviewing more of these Blue Note SHM-CDs as I've spun them over a week or so. The Bud Powell (Vol 1.) is the wonkiest of the bunch I've bought so far. Some tracks (Track 1 for example) are noticeably boosted and would seem to come from a different source tape (because of the poor sound) than what Rudy or McMaster used. Then, when the quintet tracks come along, it's like I'm hearing them for the first time — drums aren't muddy, horns are present and balanced — really nice. That disc, in my opinion, is hit or miss. The music of course is all "hit." The finest disc from this series that I've listened to so far is the Kenny Dorham Cafe Bohemia date. This was a well-recorded live session to begin with, but the current remastering (whatever the Japanese engineers are doing here) brings a new level of clarity and depth. The disc contains bonus tracks, but doesn't of course contain all the music from all the sets, so that's something to consider. I "learned" this album in its original vinyl track order, and could never undo hearing it otherwise, which is one reason it was easy for me to part with the RVG edition, even though it contained more music. For this particular Blue Note album, less is more for me, and Lion's (and/or Dorham's) original track selection was astute and on-the-mark in my opinion. This new remaster almost makes the live session sound like a studio session. Monterose feels less off-mike, drums (particularly bass drum) are clearer, piano is very present, and Sam Jones' bass sounds distinct in this (mono) recording. Even after listening to this record for years, I still forget about Kenny Burrell's presence. When he solos, I still think, "Oh yeah, not a quintet." I also just love Kenny Dorham on this album. He might be a player that I like quite a bit more live than in the studio. Not really reviews, I suppose, but responses. While this series is a little aggressive (sonically) overall, I think it's consistent with the way Alfred Lion liked to hear recordings — up front. I hope the series continues (and that Schizophrenia and Blue Spirits are next in the queue — as well as Components).