Joe

There is a greater than 0% probability of said inclusion. (Though the advisedness, much less the broaditude, of the audience in question is a matter of point-of-view...)

Perhaps... it ain't all jazz, or jass, for that matter.

Late to the party, but I would love access to a download provided one's still available.

... is on the horizon. Please check back here in a couple of days for additional information. As in the past (68; 87), tracks will be available on a "streaming" basis online, and listeners will also have access to a digital download of the "album" itself. I would prefer not to make and mail discs unless absolutely, 100% necessary. However, if you do wish to apply for a hardship exemption drop me a PM and we can discuss. Looking forward! Ciao; best, J

Love that cover photo!

Paul was (not sure about is) a great bass player, and a historically important one at that. He had bigger ears than he's often given credit for ("Carnival of Light"). But I can't quite imagine him jamming with this trio...

Not my favorite -- I can't pick one; his discography is just too diverse -- but I will say that THIS DANCE IS FOR STEVE MCCALL is some rather under-rated Roscoe... http://www.allmusic.com/album/this-dance-is-for-steve-mccall-mw0000621807

Right or wrong, we've been doing it that way in Dallas for years!

Is there any Gil Evans material that has not otherwise been collected / would especially benefit from Mosaic treatment?

Any of Gerry Hemingway's solo percussion discs are worth hearing and / or acquiring. E.g., http://www.discogs.com/Gerry-Hemingway-Acoustic-Solo-Works-1983-94/release/1190112

Gary McFarland's Verve and Impulse output might benefit from a Mosaic-enabled reevaluation. The boundaries of such a set could get squishy, given the volume of arranging work he did for others, but even if the set were to concentrate only on the dates issued under McFarland's own name... there's some "scope" for you right there...

Sonny Simmons, JEWELS.

I checked a wide variety of albums where he is either leader or sideman. They all referred to him as Sonny Red. Perhaps you are thinking of the two d's in the female alto sax player Vi Redd? FWIW, He is routinely billed as Sonny Redd on Savoy... And note his billing here... This last being a true outlier, i.e., I've never seen him billed as Red Kyner anywhere else... Huh...

How long was this particular group together anyway? They only managed to produce one LP, correct? I always thought Farmer truly expanded the possibilities of this particular configuration / template...

Spacious!

Those wishing to dig REALLY deep into Mr. Davis extensive and diverse discography might be interested to hear his work with Don Shirley...

Thanks Mark, and all.

General opinions on the Boulez / Cleveland "Great Performances" rendition?

IIRC, Monk, Nichols and Hill were the (modern) pianists Lion felt he had to document / have on Blue Note. That is, he had a special passion for their music.

Horace is going to be Horace, regardless, it seems to me. But compare Blakey's non-BN work to his BN work... besides, I feel like its Blakey's notions of ensemble, arranging -- not to mention the players he brought into the BN fold -- that helped define what the label was all about. (Post-bop, of course.) And not just its art, but its commerce as well. In the latter case, we ignore Jimmy Smith at our own peril.

There's a stridency to some of Hubbard's Blue Notes that I just can't hang with. But the best of them -- OPEN SESAME, READY FOR FREDDIE, HERE TO STAY -- are superb indeed. Mitchell, for me, always serves the music or, if you will, the concept. He's pitched somewhere between KD's "splatter" and the brassier, lead dude stylings of a Morgan, Hubbard, etc. I guess what I'm saying is, when I think of Blue Note, I think of a particularly cultivated hard bop vibe that is as sophisticated as it is street, supportive of both dancing and brooding. (The sound of many of McLean's pre-LET FREEDOM RING dates, Henderson's OUR THING, the finest of Mobley's early 60s sides). Mitchell really captures that feel, or so I feel today. Maybe I'm thinking too cinematically... Was Morgan the greater musician? Without question. Yet, as inseparable as Morgan is from "Blue Note" as label, as idea, label-as-idea, "mystique," he's Lee Morgan whenever, wherever. (I'll counter my own argument, though: Moncur's EVOLUTION.) As fine as Blue's Riverside records are, there's something different about his BN work, a mutual support or complement between what he's playing and what Lion & Woolf are shaping. Ultimately, the quintessential BN figure is Blakey, isn't it? More than Silver?

Love all these guys, KD especially, but, to my ears, Blue Mitchell above all really understood the BN "aesthetic" and made his approach work within that BN groove... he could be moody, he could be boppy, Silver-y, funky... maybe not as prepossessing as Morgan, not as fiery... but also a bit more, um, careful, and not in a cautious way... dig Blue's contributions to Brooks' BACK TO THE TRACKS, e.g. Quintessence! Also, Dave Burns... a trumpet player of incredible technical prowess... wasn't he a trumpet teacher of some renown? Anyway, he's heard to very good advantage -- he actually gets to stretch out some -- on Arthur Taylor's A.T.'S DELIGHT and Dexter's LANDSLIDE (more Tommy Turrentine there, too).

IN THE WORLD is a must, as is its sort-of bookending STARTING TIME, the date with Dorham from 1961, the period during which, IMO, KD was playing at his best / most creative and accomplished. The rhythm section is Cedar Walton, Wilbur Ware and Tootie Heath, and the program features early / alternate versions of "Sunrise in Mexico" and "Windmill" from KD's WHISTLE STOP as well as Walton's "Mosaic." The band never really stretches out all that much; instead, they opt for a certain focus... maybe its more of a composer's than player's record? Whatever the case, worth hunting down. Last available in the States as part of a Fantasy 2fer, paired with Sonny Red's A STORY TALE, featuring Jordan with Ronnie Matthews and Elvin Jones

Already mentioned, but ROYAL BALLADS on Criss Cross merits another recommendation... the presence of Vernell Fournier helps make this an exceptional date...