JSngry

I was thinking it might have been a splice or something that was on the LP, but I just listened, and it's not.

And then there's the superb "Body and Soul" on TELL IT LIKE IT IS...

She's not (and Eddie Gomez, Jim Pepper, & Jeremy Stieg played on her first album, which was a total mess, but a fascinating one). I'm not real crazy about the Essra Mohawk stuff, but some people (like Rhino Handmade) think it's incredible. So Sandy/Essra gets props from me. But she has some real sense of nuance, spacing, and timing. As for her teeth, I dunno. Genetics is a bitch, or so I'm told.

Absolutely correct. The original LPs were issued on United Artists, then reissued by Sonny Lester on Solid State. I have Vol 1 on a Solid State LP. Must get Vol 2... Partially correct. The original TBM album (6 tunes) was origianally a UA date produced by Alan Douglas, and was indeed reissued in original form on Solid State, which is how I have it. But there was no Volume 2. All the additional material was first issued on "that live messengers 2LP set that also had some 1953 tracks with Brownie" that ubu mentions (LIVE MESSENGERS, from 1978), which is how I have it. Played that sucker to death when it first came out, mostly to hear Wayne on "The Promised Land". The music's great, and the old LPs sound just fine, so I'd guess that the CDs sound incredible!

Well, sure! But how many of your favorite records are self-produced demo-quality Sandy Hurvitz/Ezzra Mohawk kinds of things with no real sense of nuance, spacing, and timing? Not many, I suspect!

Yes. I have that side, and I like it just fine, primarily because Dewey Redman gets to blow long and strong.

Good luck finding it, but if you do, grab THIS ONE. Valuable and fascinating. This one ain't too bad either, although it's tamer than I was expecting.

Sorry to hear that, Chuck.

You're my hero JSngry!!!!!!! Thank you, Chris. Happy to be of assistance!!!

But she shor is purty!

This thread is for people who don't want to wear no stinkin' glasses no more!!!!

The ones on FAR EAST SUITE have to be near the top the list, and then a lot of other live things. I think that overall he did his very best work live, although there's a ballad on ALL AMERICAN that is pretty damn hard to beat. And that LOVE CALL album on RCA, all ballads w/Jaws. Whew! My singlemost favorite Gonsalves solo, though, would have to be on "Naidni Remmus" on this CD: That one is just..... "beyond category", as the Boss would have said. A total mindfuck.

If you're like me, your eyes don't work nearly as well as they once did. So here's a chance to say what you have to say in a format that is easy to read. And if you don't have your glasses handy, you needn't be bothered with retrieving them. I consider the creation of this thread to be a service to all my friends, so carpe diem y'all!!!!!!

STOP IT! My order doesn't ship until July 13 dammit!!!!!

FWIW, Tony, the LPs had that same sound. When Lion retired, the whole "Blue Note Sound" ended, recording-wise. Rudy started getting REALLY heavy into reverb for some reason, and you can hear it not just on the post-Lion BNs, but on the Prestige dates of the same time as well. Ironically, he used it less on the production-heavy CTI dates! But from what I understand, Creed Taylor supervised all aspects of those recordings just as Lion had earlier for BN. Actually, Rudy is on record as saying that the CTI albums are what he considers his best work. Don't know that I'd agree, but there for a while, CTIs were the defacto demo records in many a stereo shop, at least in these parts. Whatever brought it on, the dependency on reverb increased throughout the 70s, reaching an apex on some of those Muse dates that just sound freakin' WIERD they're so reverbed. You can blame tape aging all you want, and that might be a bit of a factor, sure, but believe me - there's enough reverb on some of those late-60s/1970s Van Gelder-recorded LPs to scare God!

Really not that great of a solo compared to some of Paul's other ones, but definitely a great moment in jazz history, and if it led to the popular perception of, and interest in, the "Ellington Rennaisance" (which evidence suggests was already musically underway anyway), then certainly one of the most welcome ones!

Chuck, I'm very curious about this one - how did Elvin strike you on Sonny's Vanguard date?

Hey - I'm no stranger to wackjobs who also happen to be pretty gifted. Nor am I a stranger to wackjobs who just THINK that they're gifted. I just wanted to see if she was as purely wack as she came across, or if she might really have something going on to go with it. One never knows... She's got a good voice, that's for sure. Obviously trained and all that. But having something and knowing how to use it are two different things....

You know, I've often wondered about this. As somebody who came to jazz in the very early 1970s, Elvin Jones and Stanley Turrentine were already icons in their respective worlds, "sounds" that were immediately identifiable, and players who were "styles" unto themselves. But how did these players' playing strike people who heard them when they first came on the scene? For instance, when Turrentine was first heard w/Max Roach's band, did he strike listeners then as somebody really different in terms of tone and concept, or did he seem to be just another gritty hard bop tenor player? Today, his difference pretty much jumps out of the speakers, but that's with the benefit of all the classic Blue Note, CTI, etc, recordings to reinforce it. How did he strike listeners then, those who were hearing him in "real time"? Similarly, when I listen to Elvin's pre-Coltrane work today, it's pretty obvious to me that Elvin has always been Elvin - that ultra-loose, multi-limbed approach to time and swing seems to have been in place from Day One. Yet, in reading the reviews from back then, it seems that nobody really noticed just how different his thing was. Of course, as I understand it, Elvin's "personal situation" probably interefered with him getting a constant gig thing going for quite a while, which in turn probably led to only sporadic recordings and live appearances, so this irregular exposure to the "jazz world at large" no doubt made it easy to overllok his uniqueness. But still, I'd think that someboy THAT different and THAT swinging would have shook some people up long before the Trane gig. But maybe not. I know that we have a few true vets around here who have been deep into the music long enough to have experienced these guys as they came on the scene. Larry Kart's memories of Prestige-era Jackie McLean as "being the only Jackie we had", and how those recordings struck him then sticks in my memory in this regard. I'd very much enjoy hearing similar comments on these two players from people who experienced them, not after the fact (as so many, including myself, have had to), but as it really happened. Geezers, the floor is yours!

It's a franchise, I tell you.

NEWMAN!!!

Not unless I was to like a self-produced demo-quality Sandy Hurvitz/Ezzra Mohawk kind of thing with no real sense of nuance, spacing, and timing, no. Sandy's album has already been here (at last) for over 30 years, but the news has not yet reached some quarters. More's the pity.

And...? Um....

I propose that people take your advice about the Shelley Carroll side. Last time I looked it was still available cheap at http://cybermusicsurplus.com