JSngry

In like a lion, out like a lamb! TRACK ONE - Non-silly alto, which is the only kind of alto I really like. Not as common as I would like. This one 100% grooves! TRACK TWO - Yeah, Pete Brown. Listening to this one, I heard a possible link between Pete Brown and Lockjaw? Maybe? No matter, Pete Brown is very worth knowing about! TRACK THREE - Gene Shaw? Pretty distinct player, although it has been so long since i listened that I would not begin to be able to identify the record. But that's a good cut, for sure, and not just for the leader! TRACK FOUR - Lady Q on one of the tenors? Pepper on bari? Sounds like a Thad tune/arrangement. Not familiar with this one at all, but I like it! TRACK FIVE - No thanks. Too much talk, not enough action. TRACK SIX - Wow. Who knew?!?!?! I like this a LOT! Easily sleuthed from the intro: https://folkways.si.edu/conjunto-alamo/buena-vista-swing/jazz-ragtime/music/track/smithsonian TRACK SEVEN - Not to my taste, but that's certainly some skilled pickin'! TRACK EIGHT - I like this one too. Phil Woods before he got silly. The tenor player has a really intense sound, I like it a lot. The whole thing is poppin', nonstop! TRACK NINE - Odean Pope? Don't recognize the band, tho. Interesting, works for me! TRACK TEN - Gesture aplenty. TRACK ELEVEN - Time taken. Appreciated for that. Liking the piano more than anything. Saxophinist is a bit too generic for my liking. TRACK TWELVE - No idea, but I like it a lot. Not Don Cherry, but kinda in the same vibe. I feel that I'm going to have a DOH! moment once this is revealed, I like it! TRACK THIRTEEN - I thought this was some kind of Donny Hathaway basic demo cut. Then I got curious enough to cheat. Oh my! Nice set, as usual. Enjoyed it!

This is correct imo.

Thank you both!

Where did you get this one? I like Bob Freedman!

Max on the intro, playing 3/4 over Duke's quarter note triplets...a delight, and delight first, then analysis. Always.

You can adjust any physical part of a mouthpiece, tip opening, lay, chamber, any of it.

Coltrane said (in the Kofsky interview?) that the reason he "pulled back" for a quick minute was that he messed up his favorite mouthpiece and it took him a bit to find another one that gave him what he really needed. Conspiracy theorists said the the record company pressed him into it because "Chasin The Trane" was upsetting a LOT of people. Coltrane countered that he always wanted to have a balanced catalogue and the mouthpiece problem seemed like a good time to do it. That makes sense to me, because his pitch on Ballads is a bit off, like he was using a less than ideal mouthpiece. By all accounts he was an inveterit mouthpiece geek. It's SO damn easy to work on one just that one mivro_adjustment that fucks it up, and when that happens, game over.

Dark, even with the forced "happy" ending.

...enabling impersonation of famous jazz artists... Wow, when did this begin?