montg

A great jam session needs, imo, an insistent and driving rhythm section that doesn't lag, and individual voices...not good if you need the liner notes to tell you who's soloing. It seems like everybody was recording jam sessions in the 50s, Prestige, Columbia, Verve, BN, but now maybe it's a bit of a lost art.

I think the Basie jam is my favorite, but they're all magnificent. Leafing through the pictures of the booklet is a joy--it really is a wonder that so many hall of famers were gathered into one studio. The Prestige jam sessions from this era are also recommended.

Maybe increasing the traffic on this board would increase the volume of these sales? Perhaps a few strategicaly placed link to this site on jazz sites (Doug Ramsey's blog, Jazz Times magazine etc.)? Thanks for the board, I'm putting a check in the mail

I'm surprised they didn't find a way to shoehorn Cookin' into this batch of reissues. After all, it's been at least a month since it was reissued in its latest incarnation I'll pick up the Henderson, I don't have it but I've been interested in it for awhile

I'll try some more, I'm sure I'm listening with a wrong set of ears. My two paradigms for modern alto are Bird and Desmond and consequently I'm missing whatever it is that Konitz is doing/saying since he seems to be in a somewhat different place from either of those two.

Whenever I'm stuck between two choices like this, and I don't have much if anything from either artist, I buy a single CD of each, live with them for a month or two, and see which one I'm playing more. I picked up an O'day cd and an Ory CD when trying to decide between the two Mosaic sets. The O'day sat on the self after a spin or two, but the Kid was alright. If you don't have the Hodges Back to Back CD (Verve) pick that up and the latest Wilson CD from MackAve. (I think it's available from yourmusic). If I had to choose, I'd probably go with wabbit.

When my only real exposure to Chesney was his vocal stuff for Pacific, I thought he was overrated as a trumpet player. When I heard his playing on the earliest quartets with Mulligan, I then thought he was underrated. He shows plenty of chops in those Mulligan sessions, imo

I'll confess that I don't have any Lee Konitz in my collection, with the exception of a date co-led with Warne Marsh from the 50s on Atlantic. I can't remember the name of the CD, actually, probably because it didn't knock me out. Not to hijack the thread away from this particular CD, but is 'Tranquility' a good place to maybe be reintroduced to Konitz or is there a better suggestion for a reintroduction?

Hopefully this merger isn't a move of desparation, signaling that sattelite radio may not be viable. Right now it's a radio lovers dream--Giant Steps, 70s kitsch ("cracklin's Rose you're a store bought woman, you make me feel like a guitar strummin' " ), Bob Edwards, Junior Walker, Indians baseball, and on and on. There's no way ipods or even internet streaming radio matches the breadth and eclecticism of what's currently available on sattelite.

Red Allen deserves better than this type of shoddy treatment. Easy mistake to make, right?

Can anybody provide a rough overview of what would be in the Cohn/Newman/Green Select? I seem to remember Joe Newman as having a lot of RCA sessions, maybe more than would fit in a Select. On another note, I've been more than pleased with Mosaic's releases recently, I can't afford to keep up.

Does anyone have any recommendations--soundwise--where the remastering is good? I picked up a Basie and a Goodman reissue of Columbia material a few years ago and the sound in both cases was poor (even allowing for the original sources as 78s). Also, sound issues are probably complicated by the fact that many of these are Atlantic reissues and are probably taken from second or third generation tapes (b/c of the Atlantic warehouse fire).

Thanks for the information. Here is the applicible US law (I think). uscode title 17

Maybe slightly off topic, and maybe a question that belongs in the stupid question thread: If someone living in the US buys, let's say a JSP reissue, does it matter, from a legal standpoint, If the US person buys it from a US retailer versus a UK/EU retailer? If it's made legally in teh UK, and I buy it from UK source, have I broken any laws (I live in the US).

Buck Clayton Jam Session (Disc 2)

I found this Balliett quote from a 1959 article on Pee Wee Russell: "...while throughout the record [it's not clear to me which record] Freeman emits further variations on the solo he has been at work on for several decades." That's the quote I was looking for, thanks!

My thoughts exactly. Paul Gonsalves kind of reminds me of Bud Freeman's playing--kind of a supple, loose style. I wonder if Pres listened much to Bud? Not implying an equivalence between them or anything, but Pres had some of that looseness too. BTW, I couldn't find the Balliett quote I was thinking of, but I did come across another phrase where Balliett called Freeman "jouncy and monotonous". Not bouncy, but jouncy.

Any love for Bud? Most of the music I have from him comes from his appearances on various Mosaic sets (Capitol and Condon Mob) and from the Mosaic single. His style strikes me at least as being kind of unique--sort of slithery and legato. I find myself liking it more and more. I think I remember reading a critic (Balliett?) who said Freeman basically had one solo that he played over and over. To me, he seems a lot more creative than that.

I think it was Max Harrison, a British jazz critic. They're very good, as I recall.

A lot of the Condon material from the earlier Mosaic set was released a few years ago by Collectables. I don't know how good the sound quality is on the Collectables since I haven't heard them. If you like the Condon Mob material, you'll definitely enjoy the other Columbia material led by Condon. condon collectables

Not necessarily, he could have kept that cap for years... If I had a cap that cool, I'd keep it. It's the end of January, the Hutch select should be forthcoming any time now.

Coincidentally I was thinking about picking up a Horace Silver rvg from yourmusic when I saw this thread this morning (coincidence?, you decide ). I picked up the Village Gate CD, a date I had overlooked until reading some of the comments here.

I've had a couple of listens all the way through. High energy, for sure. You can tell the band had some experience playing together before the recording--some of those riffs sound complex and they hit them hard and precisely ('precise' in a good, loose jazz fashion). Altogether, I'm really enjoying the music. The recording quality is OK for the most part, but the bass is underrecorded (at least it's hard to hear sometimes on my system). Elllington knew how the bass should be recorded on big band sides,listen to the 40s Victor sessions.

No - the recordings were done by Bill Potts with bassist Norman "Willie" Williams' recorder when Pres played with Potts' trio in 1956. The recordings (four of them, I believe) were originally released on Pablo LPs in the 1980's. I think the fifth CD was issued later. Thanks for the information. Interesting it took so long for them to surface.

I received Vol. 3 in this series as a gift for Christmas--the first of these CDs I have heard and I'm pleasantly surprised how good it is. Pres sounds very much in control, seems to be able to do pretty much anything he wants to do. And he sounds so happy and inventive. I'm looking forward to picking up some other volumes in this series, what a pleasant surprise. Oh, and the recording quality, at least for the volume I have, is excellent, even the bass is audible. Were these recordings originally made by Norman Granz for Verve?