Joe

Yes, I think of this as a de factor Mary Lou Williams set. Honestly, Mosaic would be wise to consider a set focused on women instrumentalists. Not sure how you could work the parameters of that, but there's got to be some way to do that. Maybe starting with bop/the modern era. I mean, it would never happen, but I'd love a set focused on Barbara Donald's work.

Great call on Frankie Newton. A Hot Lips Page box would be awesome, too. But, again, logistical challenges. Also, would love to see Mosaic start to work with / rescue some of the small label output from the 80s and 90s. Leaning House comes to mind.

What would you all say to an Andy Kirk set? Or a John Kirby Sextet set?

As long as they are focused on upgrading the sound of classic BN sessions, I feel like we're overdue for a Horace Silver set. Specifically, the post Cook-Mitchell bands (though I'd love to hear SILVER'S SERENADE brightened up). Probably some logistical challenges with such a set, but it would be nice to have.... especially if something could be done to improve the on the existing THE JODY GRIND transfers.

Horace Silver Mercury Morris Remington Steele

The original cover is more arresting, but also more illegible.

Max Harrison has a nice little essay about Nieehaus' Contemporary dates in his A JAZZ RETROSPECT.

Matched only by his pelvic thrusts.

From what I can tell, Keith Jarrett does not have particularly large hands. Is that the impression others who have seen him play have?

John "Jellybean" Benitez Candy Dulfer The Chocolate Nuisance

His "with strings" recordings are among the more interesting and successful exercises in this genre, IMO. That opening rendition of "All The Things You Are" makes quite a statement.

Recently revisited this semi-obscurity, recorded about a month after 2 Horns / 2 Rhythm. I'm much more taken with it than I used to be, as KD plays exceptionally well here, IMO. Shame about the sound (a bit muffled on my OJC CD).

Edd "Kookie" Byrnes The Cookie Monster Mike Wazowski

This one is so obscure I forgot about it until the question was posed.

I too enjoy THIS IS THE MOMENT. But I am a KD stan who wants to know everything I can about his musical evolution. Hearing him sing is a big part of that, especially given how "vocal" his trumpet playing became starting about the time of the Time recordings (JAZZ CONTEMPORARY and SHOWBOAT), reaching its apotheosis on the Pacific Jazz/United Artists/Blue Note Jackie McLean collaborations and his work with Joe Henderson. (Oh, and Hill's POINT OF DEPARTURE.) Regarding that JAZZ PROPHETS LP... dig how hip this performance is. Among my favorite KD solos.

Probably the most satisfying of KD's Riverside dates, IMO. JAZZ CONTRASTS and BLUE SPRING have never done much for me for some reason. (I need to revisit, though.) As the cover suggests, it offers a nice balance of cool and hot. It's also an important step in KD's journey to the (less overtly boppish) player he'd become in the next decade.

Dear Prudence Lovely Rita Meter Maid Polythene Pam

Agree; that my by my favorite of his Blue Notes. ETCETERA is up there too.

This one hurts. But we are all the richer for his having been among us for 89 years. So glad I got to see him in performance at least once.

Nice; I'd never seen the original art for these. Let us now praise Patti Bown for her contributions to the groove.