DrJ

I already have JAZZ GUITARIST on the way from Dusty Groove - can't wait!

Yet it's interesting that even many of those blowing sessions would qualify as "concept" albums under the definition promulgated here. You know, "We wanted to get Gene Ammons and Sonny Stitt together to blow," and that would be the "concept." I still don't get it. A concept album has to have a lot more structure/organization around a central idea or theme to truly qualify for that label in my view. The Verve mid-90's concept albums are great examples of true concept albums - some work, some don't, but there is an overt, "here's what we want you to get" vibe, for better or (quite often) for worse as Jim alludes to. The JAZZ IN FILM Blanchard date was recorded March 17-18 (this was the session that included Henderson) and April 7, 1998 (both sessions had Kirkland).

I got my MD degree at St. Louis University. We lived not too far from U. City, in Dogtown (you know, the home of the big mutha Amoco sign and the Hipoint (sp?) bar!). My wife and I spent about 99% of our waking ours away from work at "the loop" in U. City. Boy did I haunt both of these places a lot. Back then, though, I was big into alternative rock obscurities - only light on the jazz. Do I wish I could go back in time, since the jazz reissue boom hadn't really hit yet - probably missed out on a ton of great vinyl opportunities! BTW, I've always loved the Vintage Vinyl stickers with the Roland Kirk drawing on them...I have one still on my guitar case.

Oh so many reasons for the moniker. 1) I'm a family physician. 2) I was a huge fan of Julius Irving as a kid. 3) My dad is infamous for making up silly little nicknames for everyone, sometimes 5-6 to a person, trotting them all out periodically for variety, and one of mine since finishing med school has been "DrJ." So you see, it was written in the stars...

The problem I have with trying to define a concept album is alluded to in many posts so far - nearly all recordings have SOME concept, but often it is quite loose and thus I wouldn't consider them "concept albums." Otherwise, basically every album is a concept album. Personally, I wouldn't consider it a "concept" album unless there is a very clear structural thread running through - so Flanagan's LONELY TOWN, which is all Bernstein tunes (actually, all WEST SIDE STORY tunes) would qualify for me, but something like LOVE SUPREME would not. Therein lines the pro and con of concept albums - there is a strong unity in the structure, which brings it right to the edge of (and sometimes in less successful cases across into) contrived territory. To be honest, I chafe at the idea of describing albums like WE INSIST! and LOVE SUPREME as a concept albums- they are far beyond that, not reducible to anything as simple or contained as a "concept." Sure, there's an underlying sense of purpose and general intent, but again, most albums have that. One can take away so many interpretations and meanings (in the abstract sense) of this type of music, many of which have nothing to do with the artist's original intent. By contrast, in my view concept albums basically tell the listener up front, "Here's what we're about on this recording, we're exploring X and we want you to appreciate it." As a result, there are few truly great concept albums, although they can be quite good and enjoyable when done tastefully.

Tony, Jazzmatazz also lists an upcoming (altho under the "2003" heading, no actual release date) further recording from Montreal featuring Haden, Joe Henderson, and Al Foster!

Funny, I just listened to Baby Face Willette's BN date FACE TO FACE yesterday, on which Jackson is prominent and in fine form. Not quite up to the level of HOOTIN' AND TOOTIN' IMHO, but damn fine. Grant Green on board to boot, firmly in his "these are my pet funky organ jazz gig licks and I'm going to play them hard for you...now you've heard them many times before, I know, but hell, I'm still wringing them for every last ounce of emotion, sporting that beautiful beefy yet fragile singing tone, and I KNOW you never heard me put 'em in these here little Baby Face comp and Ben Dixon engine house nooks and crannies before...so, ah, let's just get in the groove and save the fancy schmantzy runs for dates like SOLID" mode.

OK, maybe you CAN get too much Ike! Love all his stuff, but it's the jukebox sessions that get to me the most. I like to play that stuff for people who aren't sure if they like jazz - never fails to elicit a big smile and a "now THAT's good music, is THAT jazz?" exclamation.

There are probably many more, but two I've recently enjoyed come to mind: Tommy Flanagan - LONELY TOWN (United Artists 1959). This one's pretty obscure, undeservedly. Last reissued in Japan (TOCJ) in 2000, as part of the series that also included Tina Brooks' WAITING GAME, Freddie Redd's REDD'S BLUES, and Ike Quebec's FROM HACKENSACK TO ENGLEWOOD CLIFFS, only 2 of which have made it to the U.S. reissue series recently. A fairly conventional concept at first glance - Flanagan, Joe Benjamin on bass and Elvin Jones on drums play 7 Leonard Bernstein compositions, including "America," "Lonely Town, " Tonight," and "Make Our Garden Grow." But then again, how many jazz albums have been devoted to Bernstein's compositions? Furthermore, it sounds and feels like Flanagan was born to play these pieces - an understated, humble masterpiece. Terence Blanchard - JAZZ IN FILM (Sony Classics 1999). A fine group, including Joe Henderson, Donald Harrison, Steve Turre, Kenny Kirkland, Reginald Veal, and Carl Allen, backed by a full orchestra, tackle a series of classic film score themes, many with strong jazz undertones to begin with. Alex North's "A Streetcar Named Desire," Jerry Goldsmith's "Chinatown," Quincy Jones' The Pawnbroker," Duke's "Anatomy of a Murder," and several others are given lush, film noirish arrangements that have a stunningly big, "deep" movie house kind of sound. Top notch playing by all involved.

Since generally people talk less about more recent recordings when discussing artists, I'll put in a plug for two modern classics on which Haden is an integral player: 1. The first Quartet West album, titled simply QUARTET WEST (Verve). Ernie Watts, Alan Broadbent, and Billy Higgins. Nobody should be able to sleep at night without this one in their collection. 2. Geri Allen Trio LIVE AT THE VILLAGE VANGUARD (DIW). Geri, Haden, Motian, all in top form. See above. I love the Wilbur Ware comparison made above - YES, in terms of fullness of tone, of a tendency to (thankfully) dwell in the bass range of the bass. Much more adventurous harmonically, of course, but there is a clear lineage. Doug Watkins comes to mind as well - I doubt he was an actual influence on Haden, but there is a similarity in the "I'm a bass player so I'll play the bass" sensibility and in that huge ripe tone.

Given Kevin's recent posting about SWEET HONEY BEE appearing as an RVG in Spring 2004, perhaps they have similar plans for the stellar RIGHT TOUCH eventually. One can only hope...

That's interesting, didn't know about that one GoM. Maybe KOCH or somebody would eventually get that out. There are some real gems lurking in Columbia's 70's jazz catalog - still some Blythe that hasn't seen CD, and Joann Brackeen's great albums for Tappan Zee, and Bill Watrous' two stellar big band dates (MANHATTAN WILDLIFE REFUGE and TIGER OF SAN PEDRO) just to name a few.

Thanks for the opinions on the music, guys. It is a Van Gelder recording, so I'm assuming it's worthy of the upgrade. Think I'll go ahead and take the plunge!

Anyone? Anyone? Bueller?

I have the JJ and Hodges. I would have predicted my liking the JJ set more, and it is in fact outstanding, but the Hodges has turned out to be one of my favorite Mosaics. The music is stellar - I have a copy of the earlier Hodges Mosaic, and while it's good, I prefer this box of slightly later material by quite a large margin. Best Hodges I've heard as a leader, hands down. And the sound quality is gorgeous. A great box - don't miss it. 'Course, my REAL advice would be to buy the JJ first (next to the BN's, this is my favorite JJ), and THEN the Hodges and THEN the Stitt, since that's probably the order they'll go OOP and you'll eventually want them all.

I've been eyeing the DVD-A version of this Red Rodney classic recording. Anyone have it who can vouch for the sound quality in comparison to a straight CD reissue?

Well, I miss a few days on the board and come back to something like THIS! Great news, thanks Chuck. A new baby, new vintage Parker and Gillespie - does it get any better? Can't wait for this pending Uptown release!

Been getting quick listens in to a piece here and there between feedings, burpings, and diaper changes (er...the new baby's, not mine!). Wonderful, just great. Worth every penny. Excellent sound, nice packaging, but the music is of course king. Fresh.

It is very cool, Aric, I like it as well as the material in the Mosaic box for sure.

There was a recent thread with some discussion on Rikers: Elmo Hope thread A lot of stuff pieced together from heresay and liners...Chuck, are you in the know about what actually went down in terms of running the session, whether Hope/the others were exploited by Frey, etc?

Wow! This is sounding ever more promising. Hopefully people will send Mosaic some e-mails about this...

Congratulations Vajerzy! What a wonderful feeling being a daddy is. Yesterday Alex and I did our first jazz listening session - we did a kind of memorial to Benny Carter. I figure you might as well start with a true master and someone who embodies the whole history of the music. I played some selections from his 1930's material (including the stuff with Hawkins and Django), then Keynote sessions, Capitol big band recordings, Granz dates with Oscar Peterson, ASPECTS (United Artists) to capture his "studio work" period, and finally the wonderous FURTHER DEFINITIONS (Impulse!), one of my favorite jazz recordings. He dug it, if kicking and looking around was any indication!

Thanks sincerely, everyone, for the good wishes. Home from the hospital today - not much sleep these past 3 days, but a whole lot of silly grins between us! To answer a question posed above, his name is Alexander. Not a family name or anything, we just liked it as well as the shorter "Alex" (the nickname is the downfall of many otherwise perfectly good names, IMHO) and especially appreciated the fact that it has equivalents in just about all of our ethnicities (between Lisa and I we have Italian, Croatian, Mexican, Filipino, English, and Irish represented...so Alejandro, Alessandro, Alexei, etc). Won't be checking in much in near future, I can tell - it's taken me all day to get to this brief post and it's now 8:30 PM - but will when I get a chance. Back to the fun for now...

Our first child, a son, was born on Tuesday at 5:40 AM. 8 lbs 11 oz and very vigorous! Mom, dad, and baby all doing well. Just wanted to share this wonderful, exhilirating news!

Whoah! I know NOTHING of these but they sound really interesting! Hope others will chime in.