Brad

In keeping with the recent discussion, there's a great story in Robert Reisner's book The Legend of Charlie Parker, which he related Don Byas' telling about Bird, and I quote: "It seems that when he [Don Byas] first heard Charlie's music and expressed his opinion to Parker, he said, 'You ain't sayin' nothin' on your horn'. Bird gave him a hard look and told to come outside. Byas walked out with him. Bird pulled a knife. Byas calmly drew a blade of his own. Bird looked at him, smiled, and put his weapon away with the remark, 'I really think you'd cut me.'" So much for dealing with complaints about lacking your own tone!

Got a Good Thing Going sounds good to me. It's got my vote.

Bev, Besides those mentioned involving Wynton, you may want to check out a couple of cds that were issued by Fresh Sounds from the Left Bank: The Wynton Kelly Trio Live at the Left Bank (with Hank Mobley), Catalogue Number 1031, and same title but with George Coleman, Catalogue Number 1032.

I probably don't have a heck of a lot more to add than the others did. I really liked the Chambers stuff and really enjoyed the Miles rhythm section. Wynton is a favorite of mine so this was a must. But what really grabbed was the sound. It's remarkable. When Jimmy Cobb was going through his solos, it was like he was right next to me. Maybe these Vee Jays are a little heavy on the alternates but it's worth the dough.

Dan, I meant as a leader; AMG shows only 3 or 4 of those. But obviously, he's well indentified with their sound, especially when you say he's been on some 25 sessions.

I totally agree with couw and his sentiments mirror mine. I never studied music (not even as a kid) and I realize I am not getting as much out of the music as I could. That's why about nine months ago I started taking saxophone lessons, not so much as to be a great saxophone player or perform, etc. (you know what I mean) but to understand the music more. BTW, Jim's post is one of the best I've read on any board in a long time. After reading it, I said to myself "man, that's perceptive". While that may be obvious to most musicians, it may not be so to most fans. Enough pandering Also, the comment about Eric Alexander was interesting. He's sort of been identified with a lot of the people who record for Criss Cross although he only made a few albums there. Recently, I bought Mike DiRubbo's Human Spirit cd on Criss Cross and on the cd are the CC regulars: Jim Rotondi, David Hazeltine, Peter Washington and Joe Farnsworth. I lent it to my music teacher, who plays jazz, and his comment is somewhat similar to Jim's. He said that DiRubbo is technically impressive but that it sounded like that he was going through the motions, that he had no soul or feeling and that you have to have emotion to play this music.

I don't have the power but I'll second it, if it helps. B)

I'd echo the comments about the Hollywood All Star Sessions. There is some just super playing going on there. The sesssions with Stitt are good but my favorites were the ones with Bill Watrous and Milcho Leviev. Those guys were incredibly tight. I dare you to find a better Night and Day than on the session with Lechieve. Plus the remastering is really, really good. Incredibly sounding. Besides this box, I also like Art Pepper + 11, plus Art Pepper with the Sonny Clark Trio. The latter is not very good sound but the music is just sublime.

Another vote for Inta Something. Speaking of Jimmy Forrest, if you want to hear some early Grant, check out Forrest's All the Gin is Gone, on Delamark. You won't be disappointed. Grant's first recorded session.

There's a further article in today's Times about the series. The one I most want to see is the Eastwood one of Jay McShann, with Pinetop Perkins. There was a very nice but brief article in the New Yorker a few months ago about Clint making this segment.

I haven't checked but I'd have to think Dusty Groove will have these. At least, Amazon France will have them.

Maybe I'm in the minority here, I don't know, but I'm not a fan of that electric period of Miles and why do trumpeters feel obliged to have to copy this of all periods or if they have to copy why not someone else? Frankly (and I don't keep up with these anti and pro Wynton Marsalis debates on a steady basis), doesn't Marsalis come in for a criticism for doing something similar. Shouldn't these guys be finding their own voices. Derivativeness or imitation while it may be the sincerest form of flattery isn't the best way to become unique.

Not possible, Jim must have patented, trademarked and copyrighted it by now

Not to check out Eric Alexander is a mistake in my opinion. He's one of the better ones around today. I'd recommend him on The First Milestone and in Steve Davis' cd, The Jaunt, which is a very nice hard bop album. I've already put my money where my mouth is and have an order into Hiroshi for this Junior Mance album. Eric Alexander is not the reason I want this album; Junior Mance is.

Winchester Special is a favorite of mine. I knew he had an early demise but not like this. Had he lived, I think his vibes playing would have ranked him with some of the great players.

He's not one of my favorites. I have the Mosaic and quite enjoyed the Phillips. Ventura was ok. Yes, I agree he was a good saxophonist but not much more than that. I once had the Pasadena concert and that didn't do much for me, especially Jackie and Roy. Not my cup of tea. Someone mentioned the Three Deuces material. Volume One is the best. Ventura is actually pretty good there but if you're going to get it, get it for Bill Harris, one of the underrated masters of the trombone, in my opinion. That was also a highlight of the Mosaic: Bill Harris.

Well, I got one right . After reading the answers, my hat or whatever is off to Jim. He nailed a lot of these suckers. I guess that's the difference between a musician and a fan (or fanatic). I'll be honest. I never heard of Continuum but their version was very, very good. In the opening statement they almost sounded like Dameronia but then I realized they weren't. I'll be on the computer later to Hiroshi (today is recycling night) for number 13. He'll probably be wondering why he's getting so many orders for this cd. I can only say that I'm privilged to see Junior Mance on a semi regular basis at Shanghai Jazz here in Madison, NJ. Again, my thanks to Dan for picking out a good selection. One more comment. I think it was Soul Stream who said that we shouldn't resort to AMG or other help since an artist usually has to pick it right on the spot. I agree with that. In that case, I would have gotten the big bagel

I've only been listening to jazz for 4 years so I don't know how I feel when I get 10 years under my belt. However, I'm enjoying it as much as I ever did. My wife thinks I'll get jaded after awhile but it hasn't happened. I've amassed about 1,000 cds, not counting about 35 or so Mosaics. I wonder if I should get rid of some of my cds but unless I absoulutely hate I keep it. I do have some things I haven't listened but maybe twice and I don't know if I'll listen to them again but I'm going to keep them. I've always sort of viewed my collection as a library that I'll dip into to hear. I used to be fanatic about looking at ebay all the time and I have to say I built up a good part of my collection that way. I don't have the time now and I used to get all worried that I missed something but my feeling is enjoy what you already have because there's lots that I have that I haven't listened to. I just listened to some Maggie the other day that I've never listened to like Dusty Blue. It was a real pleasure, let me tell you. I find this Board is invaluable and the tips about this or that recording likewise. I'll try to get it and somethings I like and some I don't. But I like listening to them. I'm not listening to jazz as much as I like when I'm home or reading about it all the time but maybe that's good in the end. Keeps it fresh. I also catalogue every cd I buy so I know what I have and use it to pick out things to hear. I like doing that. I'm probably meandering but don't let it go. And the advice by G A Russell is very good. We could be a dying minority and we shouldn't let that happen. Keep the flame going.

Bupkis, I'm afraid.

Solo Monk is a wonderful fanstastic album. Even if you're not crazy about Monk or solo albums in general, you will after this as you hear him weave through the material. While I like these reissues, why not try Live at the It Club. That's pretty fantastic. I agree that Monk is not somebody you can always listen to in lengthy doses but I love to listen to some of his material every couple of weeks.

I can't say I've really done this. I've come close a few times and didn't pull the trigger and then later on (usually much later on, since it went back on the shelves), relistened and said "damn, I'm glad I didn't get rid of that." One of those which might fall into this category is McCoy Tyner's 13th House. I didn't like it the first time I heard it but now that some time has passed, I'm going to relisten to it before ebaying (a new verb!) it.

I've got 7 of these. My favorite is probably Paul Quinichette's the Vice President, with one of the highlights being Count Basie on organ. Jimmy Cleveland is also up there, especially since there's not much of his around. A similar trombonist like that would be Mathew Gee', whose Jazz By Gee is a must in my book, which should still be available from Fantasy.

I have heard that these won't ship for a couple of weeks.

I read a review of the series in last Sunday's NYT and it indicated this is not really for newcomers but people experienced with the blues since it assumes that you know somethings about the legends, whereas that wasn't the case with Burns, where he tried to do too much and wound up with not enough. This (knowing something about the blues) probably takes in a good lot of us and on this basis there shouldn't be the same kind of criticism. I'm not bursting at the seams to watch this but I definitely want to see it so it should be interesting.

Sounds like something I'll want to pass on as well.