montg

My set is numbered 540 and I ordered it a year or two ago. I guess it's now or never for the Ory set, because if sales have been so low for Mosaic, there's NO chance Verve will ever bother releasing single CDs.

Which set?? I'm losing track!

I had problems tracking this down too and eventually ordered it directly from maxjazz off of their website. It arrived in two days.

I e-mailed the fantasy/concord folks a few weeks ago asking if they were planning any new releases soon. No response. So much for customer relations.

No love for the Kid??! A true pioneer in jazz, played with Louis Armstrong on the famous Hot Five sessions etc.... Here's another thread which discusses this set: kidory I don't listen much to jazz vocalists--I have two individual O'Day Verve CDs and I rarely listen to them--so I'll pass on this set.

I've had a chance to listen to this a couple of times and form some initial impressions. All the compositions are by Pelt. Some of them have a kind of Monkian quality with interesting twists (the opening cut, for instance). Others (e.g., Scorpio, Dusk) seem to have a more cinematic quality which aim to build a soundscape...these cuts tend to be more drawn out and now and then feature some sound effects (not obtrusive, imo). Pelt's playing is excellent and inventive throughout and he's going to be a major player for long time. However, I found this disc slightly disappointing. There aren't enough uptempo numbers and some of the songs really drag on. Also, I think the date could have been enlivened by another pianist (insert obligatory 'imo' here). Of course, my opinion could change over successive listenings--maybe I'm missing something. Warren Wolf (vibraphone) appears on three tracks and I found him really impressive...when he and Pelt are trading responses on one track in particular (forget its name), things really heat up. for Warren Wolf (not to be confused, incidentally, with Warner Wolf)

I completely agree with this statement. Binney's a really interesting composer, which sets this CD apart from the average release. If you end up digging 'Bastion of Sanity', also check out 'South' by Binney...it features Adam Rogers in addition to Chris Potter.

Speaking of Roach, Percussion Bitter Sweet on Impulse kind of fits into the vibe you're describing.

I've heard Coleman as a sideman on some of the obvious classics (e.g., Hancock's Maiden Voyage) but I have nothing from him as a leader. Just curious what people think about him and whether there are some sessions as a leader or sideman that are worth hunting down.

I like Archer on Jeremy Pelt's 'Insight'. Here's a discography from his web site. vincentearcher

This is exciting news! Palmetto's production values, distribution etc are at least equivalent to Blue Note/EMI these days, I think. Bring it on!

I bought xm radio for my dad last Christmas and he loves it. For the obvious reasons--the variety, the breadth of options. And I enjoy it whenever I visit. I bought him a boom box/CD type of set up which he can listen to in the house and in the car (just point the sattelite receptor toward the window and it works fine). As regular radio becomes increasingly homogenized (and this includes so-called 'public radio'), satellite becomes increasingly attractive. The presence of Howard Stern on Sirius is another reason to look into XM.

I received this set recently as an early birthday present and have been listening to it a lot since then. Although I'm only through the first two discs, I'm mightly impressed. Addey has noticeably improved the sound (compared to a domestic and a Japanese issue I previously owned). Freddie Green is clearly audible as is the bass (which often appears to be virutally in unison with the guitar). Lots of Lockjaw and Vice Pres on these first two discs, to which I say/gesture And a 10 minute jam with Basie on organ which is a highlight so far. I know Basie was on one (or two?) of Granz' jam sessions in the 50s but it's a shame Granz didn't record him more in that context (although I guess he attempted to make up for it later with the Pablos). Added bonus are the fine notes by CA. informative and witty-"the new Basie sound was well on its way to becoming as 'cool' as 3D movies, a Pollock action painting, or the drop of Holden Caufield's name." I'm listening to the set right now and, man, does Lockjaw sound good with Basie at the organ.

This looks really promising. I was resigned to assuming this Edmond Hall recording would NEVER be reissued: ------------------------------------------------- Edmond Hall - Petite Fleur United Artists (1959) Projected Reissue Date: October 11, 2005 Quartet: Edmond Hall - Clarinet Ellis Larkins - Piano Milt Hinton - Bass Jimmie Crawford - Drums Sextet Add: Vic Dickenson - Trombone Emmett Berry - Trumpet Tracks 1. Petite Fleur - Quartet 2. Ellington Medley - Sextet Prelude To A Kiss Do Nothing Till You Hear From Me Solitude Don't Get Around Much Anymore Mood Indigo Take The "A" Train 3. Clarinet Marmalade - Quartet 4. Edmond Hall Blues - Sextet 5. Cook Good - Quartet 6. Off The Road - Quartet 7. Adam And Evie - Quartet 8. Don't Give Me Sympathy - Sextet

I've only got one Carter CD, Carterian Fashion, but my reaction is similar--the pyrotechnic displays tend to get in the way rather than illuminate or edify. But, like Ghost, I'm rooting for him. In the meantime, I'll stick with the Lockjaw cookbook CDs with Shirley Scott.

excerpts and live versions of songs found on the CD are available at Pelt's website. It's gonna be good!

Ideally, public radio-particularly those stations affiliated with Universities--should be about EDUCATION. Stretching boundaries, presenting alternatives. Instead it has simply become a corporate entity (albeit one with government subsidies). Unfortunately, the corporate mentality pervades universities today. Don't expect to find much avante garde or countercultural thinking at most universities (in the classroom or on the air).

I've been anticipating this for awhile based on Pelt's past work and the MP3s I've heard. It's due out on July 19, but in the meantime, there are plenty of MP3s here: peltjazz.com Here's an album description found at amazon: Over the last year and a half Pelt has been writing compositions that would help define his musical direction. These compositions were written specifically for various acoustic and electric configurations. Identity features a core band of Frank LoCrasto (piano, Fender Rhodes, Hammond B-3 & Clavinet), Vicente Archer (bass), and Eric McPherson (drums). Guest artist appearances are by Mike Moreno (guitar), Warren Wolf (vibes) and Myron Walden (soprano saxophone & bass clarinet). The recording presents over 70 minutes of fresh repertoire. Pelt’s upbeat "Re-invention" opens the session with the quartet. The group slows things down with "Eddie’s Story" dedicated to Dr. Eddie Henderson. This piece allows Pelt to exhibit his fluid phrasings on the flugelhorn. The pace quickens with the first electric offering titled "Seek". The vibrant composition "Suspicion" follows, giving Pelt a chance to improvise while the rhythm section vamps before guitarist Mike Moreno slows it down with a tasty, straight-ahead solo. Pelt then pays tribute to the recently deceased pianist, James Williams, with "Eye of the Beholder", a ballad that features subtle effects between the trumpet and Fender Rhodes. The quartet becomes a quintet with the addition of vibist Warren Wolf on the straight-ahead composition "Celestial," that features a nice solo from bassist Vicente Archer. Wolf and the quartet pick up the pace on "Angular," which is a roller-coaster of a ride highlighted by trading between Pelt and Wolf. The pace slows dramatically for the beautiful ballad "Haiku" that showcases Pelt’s breathtaking use of space as well as his delicate sound on the muted trumpet. "Scorpio" and "Dusk" close the session with the help of Myron Walden and Moreno. The two compositions are filled with effects, and the music moves into an electric freefall as the inventive and eclectic session comes to a close.

Another for 'Dark Shadows'. Nice work by joe Locke on vibes... I agree with those who said that there's more mid tempo stuff than one might normally find these days. But, Henderson keeps things interesting...he's a storyteller. Interesting side note....I wonder if this Milestone recording has become oop (following the Concord takeover). i don't see it listed at CD Universe and it's 'special order' at amazon.

I'm giving this a spin for the first time right now. Hutcherson is wonderful. And I'm loving Brian Blade on this. swinging, melodic, powerful drummer. Fun stuff..I bet this was a great act to see live.

I ordred the TOCJ of Hutcherson's 'Happenings' and Freddie Roach's Brown Sugar. Great service--ordered thursday night and it was in the mail Friday morning. SInce I live in Illinois I hope they arrive tomorrow.

Good to hear positive feedback on this one--coincidentally, I was thinking about picking this up yesterday....I'm sure I'll grab it soon. Weiskopf is one of my favorites among the newer players. "Sleepless Nights" is a GREAT recoridng. Weiskopf doesn't get the hype or recording deals that others ("young lions") have received, but he's more than deserving.

I've been trying to focus on the bass more lately, which is what prompted this question, but I definitely need to 'practice' more. Any suggestions for well-recorded pieces where I can pick up the nuances and distinctions would be appreciated. For instance, someone mentioned the 'hardness' of Minugs' attack which, now that you mention it, I've noticed before (e.g., Haitian Fight Song).

With experience it seems possible to readily identify and distinguish horn players. The signature sounds, rhythmic placements etc. of say, Lester Young, or Hawk, or Rollins are almost immediately identifiable even for an amateur like me. But, for me at least, the signature sounds of bassists are difficult to catch. What's distinctive about Paul Chambers, for instance. Or Ron Carter? etc. The sound? Note articulation? I guess what I'm asking is HOW should I listen to the bass?

I've got both CDs he made for Palmetto--both are winners. 'Horizon Reassembled' is one of my favorite recordings, period. 'Lemoncello', 'Dark Days' (really soulful), 'Love remains'...some excellent songs on that CD. I need to check out some of his earlier work. 'Free for All'--since you work with him, do you happen to know if any new recordings are in the works?