montg

Indeed!! I should have consulted you instead of my preschooler.

I've been really appreciating Curtis Fuller recently, particularly his Messengers work. Which leads to my regret: why didn't I pick up the COmplete Blue Note sessions from Mosaic when I had the chance??? I distinctly remember debating it in my mind as it was going OOP--there were some other CDs that I wanted to spend the 50 bucks on--SO I built a rationale for why I shouldn't pick it up. I remember playing a sound sample from the Mosaic website as the OOP status neared, and asking my 3-year-old, "do you like this?". I don't remember what she said but she was less than enthusiastic (big surprise) and I said that's it, I'm not biting on this one. Dumb move, obviously. Anyone else with regrets--letting one slip right through your hands? Or am I the only one?

Just from an historical perspective--his role on the early Blue Note recordings of Monk and of the Mesengers, as well as his role in soul jazz--he deserves love and tributes from festivals, Lincoln Center etc.

Thanks for the feedback. I was wondering about Blue Lights--it looked mighty tempting, but Louis Smith is unfamiliar to me and the sound samples on amazon are obviously limited.

I recently picked up one of the Prestige jam sessions ('Funky' by Gene Ammons) and I've really been enjoying Burrell on it. Other than his date with Coltrane, I don't have any CDs where Burrell is a leader...so I'm pretty wide open for any and all recommendations.

Thanks for the review! I happened across a couple of free MP3s from the new CD on Savoy and was really moved by the music. Iyer mp3s This wasn't even on my radar before hearing those cuts--like ejp says, the music is intricate, but not at the expense of power. With the vamps and Indian influence, the Coltrane connection is there, but Iyer didn't sound much like Tyner to me. Actually, the combination of power and intricacy reminded me more of Jason Moran. Anway, I'll be picking up the new CD.

I recently came across a review of this set from NPR. eldridge review warning: hearing the excerpts of the music during this review will cause anyone on the fence to immediately go to the mosaic web site and purchase it--the music is THAT good!

Absolutely--I couldn't agree more with this recommendation. The Hackett & Wiley combination is unbeatable. "Look at me now", "Manhattan"... This is available on the Condon Mob Mosaic set in wonderful sound, but obviously the set itself wouldn't be the place to start. But I think this session may be out as a single CD somewhere. Maybe try the collector's choice web page. Just checked--here it is: lee wiley

The Verve complilation, "Little Jazz the Verve Years" seems to have gone out of print. If you can find it somewhere that'd be the place to start, imo. IN fact, other than the Mosaic box, the Verve years are not very well represented right now (except for the jam session with Diz, which has never been a favorite of mine though I ussually see it referred to as a classic, so what do I know). Eldridge first grabbed me by the ears on the COunt Basie Newport CD on Verve--(there's not a lot of Eldridge on there, but his solo on one o'clock jump made me a fan forever) Some other sideman appearances during the Verve years that might be useful introductions to Eldridge: Johnny Hodges (Side by Side), Lester Young (Jazz Giants), Ben Webster and Associates, Benny Carter (the Urbane Sessions--a session he co-led with Carter is on there and is also on the Mosaic set). Verve (modern day Verve/Universal) has not done justice to Eldridge. They virtually have a monopoly, since they own all the Decca and Keynote material, plus the stuff he did on Commodore with Hawkins. Somewhat later in the day, "Nifty Cat" (from 1970) has some great playing (I think Budd Johnson is on there also).

I'm interested to hear opinions about how Addey's work compares to previous reissues..for me, some of the Verve releases I've purchased [King of Swing, April in Paris, and COunt! (import)] were prettty mediocre sound wise, even for the era.

That's a good question. I have some Warren Vache, which I like well enough, but it's been a while since I've listened to it. For me, I guess there's a sense of energy or maybe immediacy that's lacking in this genere. I grew up in the rock era and the music that's of my time, so to speak, is music that's loud and fast. Incidentally, I love the Chicago jazz (Condon) and swing era music played by the originators (I include Davern & Braff & Wilber here)--for some reason the immediacy and energy in those older recordings is very present for me. One thing I've always wondered is why very few African American artists (and Latinos, for that matter) seem to be drawn to the Vache-Hamilton axis of swing style.

I've had this for a little while and it's been really growing on me. I've listened to it about two or three times today and all I can say is there's some really beautiful--and powerful-- playing on here. Moran's doing something that sounds really fresh to me--I couldn't begin to describe it in technical terms, but there's something happening here, Mr. Jones. And, gee, he's breaking ground without DJ Scratches in the background and without recycling 80s Miles (in other words, without conflating fad and innovation).

The Norman Granz bio is due out by Christmas--it's written by Tad Hershorn. He's at Rutgers and wrote the very fine notes in the Verve Jam Session box set. norman granz bio

I think I follow this, generally. Maybe the thinness of the clarinet in bop contexts is more noticeable to me, compared to other instruments, because I'm particularly fond of that deep, woody sound that CAN come from the clarinet. Bechet playing Blue Horizon on clarinet is one of the greatest glories of jazz--the beauty of the instrument comes through even with the relatively primitive recording methods.

A couple of people have mentioned the thinning tone in the context of bop lines--why would the speed or the harmonic challenges of bop impact the tone? Just curious. I've tried to appreciate Buddy DeFranco, put his tone just sounds so grating to me. Like it's always thin and always a little bit sharp. I can't even listen to the Hampton/ DeFranco Verve sessions because of the SOUND of the clarinet. It really irritates me. And I normally love to hear the clarinet---I could listen to Edmond Hall all day. And Bechet had a nice sound on the clarinet on those few occasions when he put down the SS.

I've been piecing together this set since I missed buying it from Mosaic--so far I have 2/3 of the set (I'm missing discs 3 and 4). Anyway, there's some great Coleman Hawkins on there too. I suppose this music is a cornerstone of the 'mainstream' opened up in the 50s and 60s by the swing era stars. If you like this, the Columbia swing set Mosaic just put out would probably be a good complementary set. And don't forget the wonderful Vanguard sessions produced by John Hammond in the early 50s. More Buck Clayton, Hawk, Braff etc.

Henry Grimes was featured today on NPR. henry grimes npr

I'm arriving somewhat belatedly to the Ammons bandwagon, having been influenced by the lukewarm reviews in the Penguin guide, I guess. Live and learn. The jam session 'Funky' with Art Farmer, Kenny Burrell, Jackie Mclean, Mal Waldron etc. is outstanding. 40 minutes of warm, unhurried swingin' the blues..a real treasure. Something easy to overlook, but I'm beginning to realize how rare this type of warmth and depth can be in music.

Revenge? Upon the great god Dollar.

Your listening situation sounds exactly like mine. After the family goes to sleep it's just me and the cat down in the basement. But haven't some famous jazz clubs been cellars and basements? I like the vibe down there--I've brightened it up a bit with framed album covers along the walls, my own village vanguard or something.

Japanese Victor (JVC or VICJ) seems to pretty regularly release fantasy and Concord titles. This may be our only recourse eventually as the domestic program withers.

Just received the April issue of Jazz Review (UK) and noticed that Bastion of Sanity received a glowing review. RD Cook chooses it as a CD of the month and another reviewer writes "Top marks then for what is unquestionably my fave release of the year so far. Biney is a saxophonist who is like no other around at the moment". All these glowing reviews are bittersweet for me at the moment, however, as I've been waiting for nearly two weeks for my copy to arrive via the dreaded media mail (I've just about run out of patince with the Amazon marketplace sellers and their use of media mail to send a CD even though first class postage is usually nearly the same in cost as media mail ...another story, I know).

I've been listening a lot lately to 'Smack up" from 1960...Jack Sheldon is also on the front line and the K2 version sounds mighty good. A classic session in my book.

Nice shots, thanks for sharing them. That is one fine-looking bass!! There's a good picture of it on WIlliams' recent release on High Note (a CD that I really enjoy, btw).

I recently picked up the JRVG of Face to Face from Dustygroove and the bass lines are clearly audible on my system--and they sound great, as does the entire band! I don't have the Conn, so I can't A/B although I've found other Conns (Stick up! and Shorter's Schizophrenia, for instance, to be a little light on the bass). I'm really lovin' this CD, by the way..I can't articulate exactly what makes Baby Face seem unique, but his approach is really distinctive to me.