Late

Does anybody have a list of this series? It started in 1989 with Birth of the Cool; I've been Googling each individual catalog number, but can't find a list online. Here's what I have so far: TOCJ 5301 Miles Davis/Birth of The Cool +4 TOCJ 5302 June Christy/Something Cool TOCJ 5303 Frank Sinatra/Swing Easy TOCJ 5304 Bud Powell/Trio TOCJ 5305 Art Farmer/Modern Art TOCJ 5306 Nat King Cole/After Midnight TOCJ 5307 Count Basie TOCJ 5308 Julie London/Julie Is Her Name TOCJ 5309 Joe Pass/For Django TOCJ 5310 Sonny Criss/Go Man! TOCJ 5311 Benny Goodman/The Benny Goodman Story TOCJ 5312 Harry James/In Hi-Fi TOCJ 5313 Cannonball Adderley/In Japan TOCJ 5314 TOCJ 5315 Chet Baker/James Dean Story TOCJ 5316 June Christy/Got Rhythm TOCJ 5317 June Christy/Duets TOCJ 5318 George Shearing/Jazz Moments TOCJ 5319 Jack Teagarden/This Is Teagarden TOCJ 5320 Art Farmer/Brass Shout TOCJ 5321 Four Freshmen/And Five Trombones TOCJ 5322 Nat King Cole/Love Is The Thing TOCJ 5323 Cannonball Adderley/Mercy, Mercy, Mercy TOCJ 5324 Super Sax/Plays Bird With Strings TOCJ 5325 Sonny Stitt/Plays the Arrangements of Quincy Jones TOCJ 5326 Nat King Cole/Classics TOCJ 5327 Julie London/Julie At Home TOCJ 5328 Bill Evans & Bob Brookmeyer/Ivory Hunters TOCJ 5329 Sonny Criss/Jazz U.S.A. TOCJ 5330 Sonny Criss/Plays Cole Porter TOCJ 5331 TOCJ 5332 TOCJ 5333 Milt Jackson/Bags’ Opus Corrections and additions welcome. Thanks!

Joe Morello. And cicadas.

Yes. Excepting turn-of-the century vortex time travel of course.

Approximately 7:37 into Mahler's 9th (first movement), the bass clarinet figures sound eerily like Bennie Maupin on Bitches Brew.

Moderato to andante (approximately). I was listening to a (slowish) Max Roach solo today, and it struck me how drums solos are (or seem) rarely on the slow side. Holding back (or paring down) seems a lonely attribute of most drummers. Any slow solos come to mind? Recommend some. And discuss!

Thanks for this. The sound samples sound great. I'm currently in a buying moratorium, but I'll put this title on a wishlist. I have to admit that my enthusiasm for the sonics (not the music) on this label has waned some as I've discovered more life-like transfers. I guess I'm thinking mostly of the stuff on Frog. I pretty much stopped buying Jazz Oracle titles (which I love) because of the price. Regardless, I need to pull out my Retrieval titles again and spin them afresh. (Still listening to the California Ramblers samples) —Music really is the healing force of the universe.

You nailed it there. Watch for the edit if someone writes them. I think they don't always listen to the CDs they write copy for. Case in point: the blurb they had for a Gus Mancuso CD went on and on comparing Mancusco's playing and tone on "bari" to Gerry Mulligan's. Mancusco plays baritone horn, and Mulligan of course plays baritone saxophone. I wrote them about it, and their blurb was only lightly edited. In fact, it's probably still there somewhere. Ah well. I still order from them, but I refuse to read the copy. It's the only time when I want to use one of these --->

And here's the poop ...

http://www.youtube.com/watch?v=G8geam2Ey6I&NR=1 1985, Warsaw. Who's in the band?

In agreement here. Jacquet even comes out of different channels on different tracks. Still makes me wonder if parts (maybe not all of them) were overdubbed.

I think that's correct. I remember there being some hubbub in DownBeat at the time about how Blue Note was putting together a group (somewhat in the image The Jazz Messengers) that had to pass audition in order to make the band. I wonder who conducted the auditions, or if there really were auditions. Would it have been Bruce Lundvall? Cuscuna? (Marketing gimmick?) Who made up the original line-up? From memory, I can recall the horns, but not the rhythm section. Kenny Garrett (as), Ralph Bowen (ts), Michael Philip Mossman (t), and ... ? (Was Robert Hurst on bass?)

There's probably a thread on this band here, but a search didn't yield it ... Anyone here remember this band? I just listened to Spiral Staircase today (either the second or third edition, personnel-wise, of this band) and it was actually much better than I'd remembered. Michael Philip Mossman is a fine composer. What happened to him? Remember when this band came on the scene back in the late 80's? Wasn't it by audition only? I had a cassette of their first album, but it's been gone for years now. I can't even remember the tunes, and now the CD is fairly hard to come by. For all the shortcomings of the so-called neo-bop movement, this seems like one of the better bands to have emerged during the time, especially given the concurrent renaissance of Blue Note in those years.

It's not - I always did, too. As do I. Me too.

I've often wondered — just based on listening to the CD — if Jacquet was physically present for the recording of each track. His entrance and obligatos on "Charade" have always seemed strange to me, as if they were overdubbed. Sonically (and this may simply be due to the CD issue I have) he seems as if he's in another room, but his playing also seems detached from (or oblivious to) the groove Hartman has with Hank Jones and Kenny Burrell, especially from 1:47 to 1:57. Has anyone else here had this thought? Regardless, I love this album. When I sometimes think about dream line-ups, I wish that Bill Evans would have recorded with Hartman, if not in a small group (with Richard Davis on bass, Roy Haynes on drums), then with, say, a large group orchestrated by a young Gary McFarland.

Thanks for that. Her music reminds me of Nataly Dawn's.

I don't have any Sly Stone in my collection, and am interested in how his music made an impression on Miles. Recommendations, and recommendations in general? Thanks!

I listened to In Concert today, and was thinking how, at times, it was near perfect. But I guess it isn't. Anyone else have a fondness for this live session?

I've wondered that too. Wayne, to my ears, would especially fit the bill. I can't "hear" Joe on that record, but ... I've also wondered about the relative tension between George Coleman and Tony Williams. Wasn't Williams indirectly (or directly) responsible for Coleman's departure from Miles' band?

Some sound samples. And one whole track.

Listened to just the harpsichord stuff (of Meade Lux Lewis) tonight. Freakin' amazing. For haters of the harpsichord (and I am usually one, I have to admit): you need to hear these sessions. Might just change your opinion of this spindly creature.

Agreed. And same. Though, based on solos alone, it would have to be Sonny Rollins.

Not to derail the intent of the thread too much, but has anyone here every wondered/thought about what that Jackie session would have been like if Ornette had played alto? I've never heard the original "We Now Interrupt." Would like to. Too bad Ornette's later BN sessions weren't in the Blue Note Works TOCJ series. The Japanese would have kept the original intent of the LPs (which would have also meant no alternate takes). The Empty Foxhole seems like Ornette's most under-valued BN session. I guess because of Denardo's presence, but I've actually grown to like his playing there. Now if only that CD included the unissued session with Dookie on harmonica.

And THEN I realize that I can't spell! There ARE two L's. No wonder I couldn't find the dang thread. Myself in the mirror =

And the funny thing is, I remember that thread. I searched for "Kulhammar" on the board to no avail, and now I notice that you slyly added an extra L. So many straight-ahead players can't take it out enough (at least for my taste), and then so many "out" players don't have the chops to play through burning changes. Kulhammar can do both, and then do it with a palpable lust for living and bravado. He's got the finger part of the horn DOWN. And that's just, what, 49% of what makes a great tenor player? I also want to give a nod to Magnus Broo, a fine trumpet player on Moserobie (among other labels). He was at North Texas when I was there, and would sometimes sit in with the lower level bands (which at that time also included Rudresh Manhanthappa), which of course was very cool. Anecdotes aside, his Swedish Wood, is both current and deep. Just when you think a Miles influence is too strong, out comes the Don Cherry or ... Red Allen (kind of). But he's his own man on the horn, which is something everyone's aiming for. The line-up is also fairly unusual: trumpet, bass, bass, drums. It works.

Mr. Kulhammar used to post on the old Blue Note Board. Maybe he's even registered here; I don't know. But that's beside the point. Kulhammar has evolved, in my opinion, into one of the finest tenor players on the scene today. The guy has some serious tenor chops, and can go inside/outside without straining. The three discs of Gyldene Tider, while not without clear influence (Rollins most prominently), are some of the finest jazz recordings I've heard in a long time: fun, youthful, inventive, and swinging like a bee-yotch. The guy is currently only 32. What do you have on the Moserobie label? And what do you think of Kulhammar's playing?