relyles

Many are also circulated for free within the trading community.

I have never really watched the show other than a couple of times watching the auditions for their comic value.

I am aware of at least one radio broadcast of Hill will Wallen and Yarde and they both seem comfortable with Hill's music. I believe both also played with Hill in the past as part of his US/UK big band.

Should not be too surprising. How many contemporary jazz artists can we honestly say are "American Idols"?

Yes, Fresh From The Cooler with Ari Roland and Jimmy Lovelace.

Hewitt does not seem to be discussed here recently with the same enthusiasm as he was when his first recording was released. The past couple of days I have been listening to the most recent Smalls Records release, which is actually the earliest recorded document. It is pretty consistent with the other trio recordings - even if by now it does not have the same impact of a newly discovered artist. Worth a listen.

Whoa. Didn't even know that Barron side existed. Do you have it Chas? I'm guessing that Kenny's on it as well. Now you've got me jones-ing to hear it! Must resist the Caps Lock! I assume you are referring to this date: Date: ca. 1972 Location: New York City Label: Savoy Bill Barron (ldr), Bill Barron (ts), Kenny Barron (p), Chris White (b), Al Hicks (d) a. a-01 Motivation (Bill Barron) b. a-02 Land Of Sunshine (Bill Barron) c. a-03 Blues For R. A. (Bill Barron) d. b-01 Cosmos (Kenny Barron) e. b-02 Hold Back Tomorrow (Bill Barron) f. b-03 Mental Vibrations (Bill Barron) All titles on: - Savoy LP 12": 12303 - Motivation I have the LP and it is a terrific recording, in particular the title cut.

Thanks for the update. My father had told me that he relocated to Atlanta several years ago, but my father lost touch with him after that.

I do not have much Jenkins in my collection, but in his memory right now I am listening to a radio broadcast of an Equal Interest performance from 2005 in Bielefeld. RIP.

I have the Impulse recording and it is indeed impressive. I will have to keep my eye open for this one.

Believe me, it really is not my intent to be critical, judgmental and definately I do not want to start some kind of argument. Unfortunately, I can't read the review for myself at the moment, because I am reviewing the same CD for Jazz Improv magazine and prefer not to read another review until after mine is complete. I understand the website is about more than just a CD review. Please don't feel too offended. I was merely commenting on what I think many would find somewhat of a contradiction and I suspect no one would have even known that the comments about the sound quality were based on hearing the disc on a computer as opposed to what most would consider even entry level audiophile equipment if you had not mentioned them presumably in defense of the original poster's questioning of the positive comments about the sound quality. Wouldn't you at least concede that the comments about the sound quality lose some credibility/reliability to the reader now that we know how the music was heard? Again, I don't want you or your son to get defensive. I do the vast majority of my listening in the car or through an inexpensive speaker system connected to my work computer.

I have not seen the review, but it is strange that a review of a recording for a publication called "Audiophille Audition" would rave about sound heard through a computer system.

McNeil is a great player. His East Coast Cool was one of my favorites of 2006. Allan Chase's playing on that one motivated me to really investigate baritone saxophonists.

I saw that today. I am definately going to try to make a couple of those shows. Too close and too inexpensive not to at least make the effort.

I believe he has been playing with Michele Rosewoman's Quintessence. He is very impressive on, and also produced part of her most recent release.

Not by choice, but I was curious to see Ornette. I had stopped watching it by the time Ornette came on, but I had asked my wife to tell me if he came one.

I saw the presentation, but missed the sign as well.

Checked my files and found this information about the Farrah live performances I mentioned. Farrah, Shamek xx/xx/89 Brooklyn, NY Shamek Farrah (as), Sonelius Smith (p), Matathius (b), J.R. Mitchell (d). On t4 - Brad Jones (b), Yoron Israel (d), Lenny King (perc), Norman Person (tp), Garry Hammond (ts), Marvin Neal (tb) Farrah, Shamek/Alvarez, Chico Studio 243, Brooklyn, NY Shamek Farrah (as), Garry Hammon (ts), Marvin Neal (tb), Luis Monge (p), Harry Anderson (b), Lenny King (timbales), Gene Golden (conga), Chico Alvarez (perc, voc). Recorded in early 1990s.

I met Farrah a couple of times in the late eighties. My father and he were friends and arranged a couple of functions in Brooklyn around that time. I still have copies of some of the cassettes made of those performances, which I transferred to CDR. I don't know much about him other than at the time he was living in Staten Island. Maybe I will give my father a call and inquire what whether he has heard from him recently. They sounded a bit dated to me, but I did enjoy those Strata East LPs.

For me, that one is pretty much a disappointment. The pairing with Sonny Fortune on Alto Memories is much better. Other than some of the more commercial recordings, I own most of Bartz' recordings as a leader. The early Milestone/Prestige stuff is great. Having seen him live a number of times, I have grown to prefer him in that setting - including live recordings. For that I would highly recommend the two recordings on Candid, There Goes The Neighborhood and West 42nd Street, and his recent self released recordings Live @ The Jazz Standard Vol. 1: Soulstice and to a somewhat lesser extent because of the sound quality Live @ The Jazz Standard Vol. 2, Mae Velha. I recently started compiling Bartz' discography to include on the Jazz Discography website, so I will be revisiting a lot of Bartz for the foreseeable future.

Judgment, Andrew!!!, Dialogue (a Bobby H album) He appeared on Dialogue, Hank Mobley's No Room for Squares, and Joe Henderson's Our Thing. Guy Andrew also recorded with Hutch for Eternal Spirit (for the reformed BN--that one is OOP, though...). And also on Rahsaan Roland Kirk's Domino, Jimmy Woods, Conflict, Russel Baba, Earth Prayer, Reggie Workman, Summit Conference and Johnny Hartman, Sittin In At Jorgie's Jazz Club. All worth mentioning IMO. Almost forgot Walt Dickerson, To My Queen, a very enjoyable recording.

Judgment, Andrew!!!, Dialogue (a Bobby H album) He appeared on Dialogue, Hank Mobley's No Room for Squares, and Joe Henderson's Our Thing. Guy Andrew also recorded with Hutch for Eternal Spirit (for the reformed BN--that one is OOP, though...). And also on Rahsaan Roland Kirk's Domino, Jimmy Woods, Conflict, Russel Baba, Earth Prayer, Reggie Workman, Summit Conference and Johnny Hartman, Sittin In At Jorgie's Jazz Club. All worth mentioning IMO.

I really enjoyed his Fresh Sound New Talent release - I think it is called Artificial Light. He is also on the Anthony Braxton CIMP recording featuring Andrew Hill tunes. He can play.

Some of the klones were also TY manufactured.

Other than possibly Mitsui, TY manufactured discs are often considered the best. They are actually not as difficult to locate as you may think. Several on line retailers sell them, and you can often find TY manufactured discs with different brand names on them such as Fujifilm and Maxell Pro. Just make sure they say manufactured in Japan and they will be TY discs - the same disc as if you purchased unbranded TY discs.