Joe

I'll hop on the carousel, and I'm OK riding 1s and 0s (download's fine). J

Trying to organize my thoughts on this... Freddie McCoy. Don Patterson. Seems like this would also be an excellent opportunity to collect all the Shirley Scott Prestige Trios, esp. the "songbooks".

Fine vocalist; I like that her voice has a slightly huskier / smokier quality than Christy. She does a killer version of "One For My Baby (And One More For The Road)" on the BALLADS OF THE SAD CAFE LP (which, for any Jeff Buckley fans, also features a memorable version of "Lilac Wine"). Much love and respect for Frank, and Sinatra's may be the definitive version of this song, maybe he even "owns" it... but Connor makes him sound bathetic by comparison, IMO.

Jeff, NIS -- thanks for listening, and for sharing your impressions. Glad to know somebody took a shine to #21 and #22... and to read a name-check on Denman Maroney. Does anybody recognize the tune on #1? (Just curious.) All will be revealed, 12 PM / noon, F, 11/06/09. J

Jim -- it goes without saying that I deeply enjoy everything you had to say about this collection. But this comment really did make me re-hear track 25, and I think that, as I result, I have to describe it / its motion very differently now, both to myself and to the BFT participants... when the big reveal comes down.

Love this set; consider it an invaluable addition to any Pepper discography.

MG -- thanks to you too for the generous comments. Find it fascinating that #5 -- particularly the tenor player on #5 -- just isn't doing it for most listeners. J

In the same vein -- though a much more difficult read, I think; quite Heideggerean -- is David Sudnow's WAYS OF THE HAND: THE ORGANIZATION OF IMPROVISED CONDUCT. "Ways of the Hand tells the story of how David Sudnow learned to improvise jazz on the piano. Because he had been trained as an ethnographer and social psychologist, Sudnow was attentive to what he experienced in ways that other novice pianists are not. The result, first published in 1978 and now considered by many to be a classic, was arguably the finest and most detailed account of skill development ever published." See: http://mitpress.mit.edu/catalog/item/defau...=2&tid=8512

Tony Scott?

Badiou's lusted-after nest-egg

Thom -- thanks for the generous comments. On 14, the sound you mention -- the sax player, correct? And, not to ti my hand to much, but... I really, really, really wanted to include some Charles Brackeen on this BFT, but I could not locate the specific record (and tune) I wanted to slip in there. So I will just issue a general recommendation for all his Silkheart dates, but maybe BANNAR more than any other. J

Dude, what have you got against voles?

This description courtesy Worlds Records... "Kenny Dorham and Joe Henderson recorded six albums for Blue Note betweem April 1963 and September 1964. This Cd presents a previously unknown broadcast that predates the pair's Blue Note collaborations. In January 1963, the Dorham-Henderson quintet appeared at The Flamboyan located in Queens and named after the casino in Puerto Rico, the club was only open for about a year, but the music lives on." KD was playing at a very high level during this period, IMO: taking risks, moving towards a more "vocal" style (with a tone sometimes throaty, sometimes almost strangulated)... but without sacrificing the lyricism that was essential to his style. That we get an early glimpse of Henderson is a big bonus.

I almost mentioned the Bill Perkins / John Lewis / Jim Hall / Percy Heath / Chico Hamilton GRAND ENCOUNTER. If you can find it, get it.

3 recommended OJCs in this "cooler" vein: Paul Horn, SOMETHING BLUE PRESENTING RED MITCHELL (w/ Lorraine Geller, James Clay and Billy Higgins) MUSIC TO LISTEN TO RED NORVO BY PS -- for something a bit warmer, check out the Conte Candoli Quintet dates with Bill Holman (POWERHOUSE TRUMPET and WEST COAST WAILERS)

Glad you enjoyed that track; a particular favorite of mine. To be honest, I'm not sure Chuck ever worked with said tenor... though I'd be curious to have his thoughts on said tenor, once all is revealed. So I guess I'm right that its someone who tends toward the A/G in a more restrained performance. It is what your ears say it is.

Glad you enjoyed that track; a particular favorite of mine. To be honest, I'm not sure Chuck ever worked with said tenor... though I'd be curious to have his thoughts on said tenor, once all is revealed.

We're ready to roll. http://www.slowstudies.net/bft68/ 2 dozen tracks + a bonus selection. Listen online (thanks, Flash), or download the entire BFT, whichever your connection speed prefers. No over-arching theme or conceit here, other than the power of association as applied to a jazz record collection. In other words: this is just an assemblage of some things I like that, as I enjoyed hearing them again, seemed more or less to fit together in a mix-tape kind of way. Answers will arrive in the first week of November. Enjoy. Ciao, Joe

Meant "back when" it was released. I guess if I were 18, 2001 would truly be "back when". And I should have said... "but you're right, Paul: 2001 actually was quite a long time ago. Especially culturally.

Another hearty recommendation, though do please be aware of the rather brief playing time (more of an issue, I guess, in those days when we were all very aware of and sensitive to the 80 minute capacity of the CD). And... hard for me to place this recording "back when", or when I wrote this up for One Final Note in 2001 as belonging now to some distant past.

Hi all. Afraid I don't have time to burn and mail out a slew of CDRs, so I plan to make an MP3 playlist available for a limited time via "the tubes". Let me know if you'd like to participate so I can send you the eventual URL. (ETA: next 2 weeks). Thanks; ciao. * Thanks, Alex, for the serial correction.*

According to my notes, I'm scheduled for October ... #70... look for something from me in the next couple of weeks...

+ ELMO HOPE TRIO (Hi-Fi / Contemporary) + Dizzy Reece, SOUNDIN' OFF + MINGUS AT THE BOHEMIA

It has been a "third Wednesday" of every month arrangement. The crowds have been all but non existent, but then again it is an anything goes deal. We have fun. Part of the problem with attendance is the location. It is the west end of the Dallas design district, but it looks a little spooky out there at night. Nothing but galleries and warehouses. I talked to a few people who had intended to come by. When they came down Levee street, they looked around and decided to just keep driving. Ironically it is probably safer than anywhere in Dallas. It is just deserted at night. By the way, Organissimo's own Big Al was in attendance and he stepped up to the plate! There was an acoustic bass in the back room and he offered to play. Check his fingers for blisters this morning! He is a trooper! Thanks Al...you were great! That's a cool area of town, IMO... and up-and-coming, I think. Kepp us posted on this; would love to see youse guys next time around.

Heard a track from this self-released disc today on local radio (KNTU, for those in the area): "My Brother Melton". Had to say I liked what I heard, especially from the leader, who appears to be based in Miami. Heavy Cannonball influence, and I could swear I heard some Sam Rivers-esque "slipperiness" here and there. But, ultimately, there's a dancing quality to his lines that strikes me as all Jesse Jones Jr. You can preview tracks at CDBaby (vocals alert): http://www.cdbaby.com/cd/jessejonesjr2