montg

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?

I received this set about 6 weeks ago and it was #2976. I don't know if this resolves the question, but that number is about what one might expect if the sets are sold, roughly speaking, in sequential order.

I've been meaning to pick this one up, if for no other reason than Billy Mitchell and Bobby Hutcherson are among the sidemen. A lot of those Argo Al Grey recordings remain unissued--perhaps a good Mosaic set?

The Verve LPR series is turning out to be a great reissue program. great music, remastering, and such a range of music (surely something for everyone). And, supposedly, a limited run, with some going out of print soon. I have about 7 or so, with my favorites being Billy Mitchell and Sweets. What are some favorites and hidden gems in this series? I've provided a complete list below. ---------------------------------------------------------------------------- Julian Cannonball Adderley Cannonball Adderley Vacation At The Concord Machito Alexandria The Great Lorez Alexandria My Kinda Swing Ernestine Anderson Patato & Totico Patato & Totico Afro-Harping Dorothy Ashby Music Is The Healing Force Of The Universe Albert Ayler King Of Swing Count Basie Songs I Love To Sing Brook Benton 'S Make It Art Blakey A New Dimension Willie Bobo Jazz Cello Ray Brown Chicken Fat Mel Brown 1975: The Duets Dave Brubeck & Paul Desmond At Newport The Gigi Gryce-Donald Byrd Jazz Laboratory & The Cecil Taylor Quartet Candido Candido Camero Swing Around Rosie Rosemary Clooney The Al Cohn Quintet Featuring Bob Brookmeyer Al Cohn Waiter, Ask The Man To Play The Blues Freddy Cole Soul Sisters Gloria Coleman Quartet Universal Consciousness Alice Coltrane Cugi's Cocktails Xavier Cugat After The Ball Frank D'rone My Gentleman Friend Blossom Dearie Soubrette: Sings Broadway Hit Songs Blossom Dearie Mr. Clarinet Buddy DeFranco Buddy And Sweets Buddy Rich & Harry 'Sweets' Edison Sweets Harry "Sweets" Edison Steel Guitar Jazz Buddie Emmons California Here I Come Bill Evans The Jazztet At Birdhouse The Jazztet Whisper Not Ella Fitzgerald Sings Sweet Songs For Swingers Ella Fitzgerald Hello Love Ella Fitzgerald I Love John Frigo…He Swings John Frigo Slim Gaillard Rides Again! Slim Gaillard Stan Getz And The Cool Sounds Stan Getz Reflections Stan Getz Terry Gibbs Plays Jewish Melodies In Jazztime Terry Gibbs The Shadow Of Your Smile Astrud Gilberto Afro Dizzy Gillespie Sittin' In Dizzy Gillespie The Easy Way Jimmy Giuffre Snap Your Fingers Al Grey Johnny Griffin Johnny Griffin Jim Hall Live! Jim Hall Woody Herman 1963 Woody Herman Once Upon A Time Earl Hines Gerry Mulligan Meets Johnny Hodges Gerry Mulligan & Johnny Hodges Desert Winds Illinois Jacquet Chamber Music Of The New Jazz Ahmad Jamal J.J.'s Broadway J. J. Johnson Roger Kellaway Cello Quartet Roger Kellaway The Formative Years Stan Kenton Kirk In Copenhagen Roland Kirk Involvement John Klemmer Motion Lee Konitz Gene Krupa Plays Gerry Mulligan Arrangements Gene Krupa The October Suite Steve Kuhn & Gary McFarland The Golden Flute Yusef Lateef Another Voyage Ramsey Lewis Grrr Hugh Masekela Birds Of A Feather Carmen McRae Equinox Sergio Mendes & Brasil 66 The Fool On The Hill Sergio Mendes & Brasil '66 This Is Billy Mitchell Billy Mitchell Willow Weep For Me Wes Montgomery James Moody James Moody Gerry Mulligan And The Concert Jazz Band At The Village Vanguard Gerry Mulligan Joe Newman Quintet At Count Basie's Joe Newman Incomparable! Anita O'Day Spanish Rice Clark Terry & Chico O'Farrill Soul Español Oscar Peterson A Jazz Portrait Of Frank Sinatra Oscar Peterson Manhattan Latin Dave Pike Blues Caravan Buddy Rich How About Uke? Lyle Ritz Crystals Sam Rivers Jazz In 3/4 Time Max Roach Ask Me Now Pee Wee Russell Piano, Strings And Bossa Nova Lalo Schifrin Tony Scott Tony Scott Attica Blues Archie Shepp The Cry Of My People Archie Shepp Cat On A Hot Fiddle Stuff Smith The Boss Jimmy Smith New York Jazz Sonny Stitt Personal Appearance Sonny Stitt High Contrast Gabor Szabo Mis'ry And The Blues Jack Teagarden Gospel Train Sister Rosetta Tharpe Soul Bird: Whiffenpoof Cal Tjader Olé Tormé Mel Torme Tormé Mel Tormé It's A Man's World Sarah Vaughan Margaret Whiting Sings The Jerome Kern Songbook Margaret Whiting Phil Woods And His European Rhythm Machine At The Montreux Jazz Festival Phil Woods

I picked this up last week but have only been able to listen to it a couple of times. It may take some time for it to grow on me...there's kind of a static, stationary quality to the music that's not especially appealing to me....I guess I'm not hearing (or missing) something rhythmically.

I picked this one up recently and--it is every bit as good as the hype. I had seen this album described before as one of the great modern mainstream recordings and it's had to argue against that claim. Everything is working..the rhythm section is swinging, Kessel contributes interesting lines and color when he's not punctuating the rhythm. Sweets and Webster complement each other perfectly. This one has sent me in search of Sweeets' Verve Elite that I had previously passed on.

I bought his new CD a few months ago. The biggest drawback I thought, was that it was all over the place, stylistically....hard bop on a few cuts, smooooth-sounding on another two, a gimmicky wah wah electronic effect that was way overused on another song, a hip hop inflected song... maybe this makes for a lot of fun live, but on a CD it's way too disjointed for me. The talent is certainly there, it seemed to me, but he could probbly have used a good producer.