JSngry

I heard him at his club in Birmingham, 1982. His house trio was backing Hank Crawford for a week, playing NOTHING but no-bullshit bebop. I personally prefer the Ramsey Lewis trio with Eaton & Jennings to that of Young/Holt. Heresy in many quarters, but I know what i like. oh btw...

Those two Blue Notes, I was excited as fuck when I found them in used stores, for, like REAL cheap in the late 70s. Now I guess they're like cratediggers gold, or used to be, do people still dig crates?

RIP.

On these 1953 records, he's totally coherent. to the point of being boring. Except with Philly Joe & Milt Hinton behind him. At Minton's, no less.

Don't think so here. I've hear plenty of Scott from this time that really sounds borderline finger-waggle (and some times a little more than bordeline), shapes mattering, changes not so much.. But not here. In 1953, anyway, he was very fluent and very coherent, at time, it's Lockjaw-ish in a weirdly clarinetty way. Personally, the less Scott got worried about changes and fully embraced the shape playing, the more I like him But I do think he had to get all the way in before he could start to get back out.

Also, check it out -strolling! (1953, not 1957)

Three 1953 dates on one record, 10 tracks, the first being pretty sleepy, and then at the end, there's four cuts live at Minton's by this band: and shit wakes up! Funny now to think that there was a time when both Philly Joe and Blakey got heat for playing too loud and stuff like that. You tell me - is this too loud?

Less than I had hoped for, but maybe my expectations were too high, Perkins being the only one of these guys I have a real...investment in. Overall, just too damn "sunny" for me. Another time, perhaps. Ok, this was originally Liberty, there's more, from an actual PJ session w/Hampton Hawes & Mel Lewis, and a much better-recorded Red Mitchell, that is much more on-point, imo. Funny - same engineer on both sessions. Yet the PJ record sounds more like "real jazz" than does the Liberty. Go figure.

LAUNCHER!

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Teddy Edwards had not. That would come in 1960.

He had recently signed with Contemporary.

sure!

Not about Feldman, who certainly stood on his own, just laughing about, oh, here's Teddy Edwards in the role of "outsider" and then here's Vic, who had recently signed with Contemporary. Vic goes home after the gig and thinks wow, this is going to be great, this deal with Contemporary, gonna be some good work here, glad I moved here! Teddy, otoh, goes home and thinks...

Do you have to order and pay through one of their social media apps?

Very considerate of him to invite Vic, who had recently signed with Contemporary. Leroy: Hey, Les, here's who I want on my record...etcetcetc Les: Sure Leroy, you've been good to us, we'll be good to you now. Just one suggestion... Reminds me of the "God's got this chick singer..." joke of years past.

Maybe Leroy had a say in who he had on his date? "Vic, who recently signed with Contemporary...."

for the long haul

Because he can?

I'd recommend that EVERYBODY read this to get a good backstory on where we had gotten to before we got to where we are today:

WHOA!