mhatta

Pepper Adams (and Byrd) played that tune as The Long Two/Four on "10 To 4 At The 5 Spot." I guess probably it doesn't have a canonical name.

I'm hoping someday Mosaic will release “The Complete Paul Bley GNP/Savoy/ESP/BYG/Fontana/Polydor/IA/Limelight or whatever Recordings 1957-1970.” Not holding my breath, though. For now, I wish at least someone would properly release Fontana's ‘Blood’ and Limelight's “Mr. Joy.”

I liked Blodwyn Pig's Ahead Rings Out. The music was good, but I wanted to make the pig on the album cover my profile icon. RIP.

Actually, the comparison between Hampton Hawes and Phineas Newborn, Jr. is interesting. Hawes had a father who was a pastor and roots in the black church, while Phineas was in his father's blues band in Memphis and performed with B.B. King and others. However, I think from start both of them used more refined and modern harmonies rather than earthy ones. What they have in common is that their styles changed mid-career. I think the early Hawes was heavily influenced by Bud Powell, and he wasn't originally very good at ballads. However, after being imprisoned and pardoned, he became influenced by Bill Evans and began to play lyrically. Phineas's early recordings, such as “Here's Phineas” and his RCA albums, were all about technique and not funky at all. However, on Roy Haynes' "We Three" and various Contemporary label recordings, he developed a sophisticated, unpretentious, yet bluesy style. I think that style became a model for the younger generation, the so-called Memphis Piano Connection. They're all dead now, though...

There was a jazz club in Yokohama called Mocambo. It was a place akin to Minton's in NYC, serving as a gathering spot for young jazz musicians like Toshiko Akiyoshi, Sadao Watanabe, and Masayuki Takayanagi—who later gained worldwide fame—as well as those who died young, like Shotaro Moriyasu. They wanted to study bebop, the latest jazz style at the time, during the after-hours sessions, but information was scarce. Then none other than Hampton Hawes arrived on the scene, and everyone, not just the pianists, imitated him. The only recording left of those jam sessions at Mocambo is a homemade one from the night of July 27 to 28, 1954, recorded by Kiyoshi Iwami, a 19-year-old college student like Jerry Newman. Hawes does play “Tenderly” on it. In the 1985 recording of “It Don't Mean A Thing", a solo piano live album, he plays “Hamp's Blues”. Of course, it gets a bit free here and there, but generally in the Hawes style. https://www.discogs.com/ja/release/15178098-Yamashita-Yosuke-It-Dont-Mean-A-Thing

I've heard rumors about a live recording of the Coltrane group featuring Wes Montgomery (at the Newport Jazz Festival?), but it might just be a rumor. But since there was even a live recording of Giant Steps (awful sound though), it might surface eventually. Wes had pieces like “Impressions” in his repertoire, so I imagine he would have fit right in.

"Blues For Bud" was the first Hampton Hawes album I fell in love with. I still particularly love the opening track, “Blues Enough,” and I think it influenced my own piano playing. "Hamp's Piano" on MPS is also good. The duo with Charlie Haden is also moving. Young Hawes was incredible, too. The Contemporary trio recordings are sound, but you SHOULD listen to his early Vantage recordings! It's really The Amazing Hampton Hawes. Hampton Hawes was stationed in Japan after the WW2 (later he was arrested for drugs and deported). Almost all of Japan's pioneering modern jazz pianists, including Toshiko Akiyoshi, were influenced by him (even Yosuke Yamashita could play almost exactly like Hawes). I'm not sure if it's his sense of rhythm or his phrasing, but I think his style was particularly accessible to Japanese listeners. Given how much technique Hawes had, I was disappointed he had not recorded a solo piano album, but it turns out he did! Apparently, he recorded it when he was pardoned and returned to Japan. I hope it gets released on CD or streaming.

Unfortunately, I've never heard Blakey play live, but from recordings, I think Blakey's playing from the 80s onward occasionally featured off-rhythm or unstable moments. If it's a decline in hearing, that makes sense.

By the 80s, I think Blakey couldn't hide his decline as a drummer, but the repertoire had grown to include more modern tunes that I found enjoyable. On this album, for example, tracks like “Little Man” or “Fuller Love” (aka “In Case You Missed It”).

Celebrate Christmas with “Jingle Bells Boogie” and ring in the New Year with “Auld Lang Syne Boogie”

It would be a real shame if Shorter had opposed the release. In fact, at least part of the so-called “Because” session had already leaked as bootlegs, and from what I understand, it's quite good. Barbara Burton's vibes are surprisingly good, and McCoy Tyner is good too. I can understand why Shorter “at the time” was reluctant to release it. It feels more like a prequel than a sequel to Odyssey of Iska (or Weather Report), and it's “jazzier.” But listening to it now, it's at least a valuable relic of the past.

"The Complete Wayne Shorter Blue Note Studio Sessions" -- many of Wayne Shorter's Blue Note recordings have been reissued multiple times, but some haven't. He recently passed away, and this could sell well and contribute to Mosaic's finances. Besides, they've done similar projects with Joe Henderson and Bobby Hutcherson in recent years. Night Dreamer Juju Speak No Evil The Soothsayer Et Cetera The All Seeing Eye Adam's Apple Schizophrenia Super Nova Moto Grosso Feio Odessey Of Iska Many sessions are short, so perhaps around 10 CDs or such? Also, if possible, I'd like to see the rejected sessions (like the Odessey Of Iska sequel featuring McCoy Tyner for some reason) finally see the light of day.

"The Complete Blue Note 1964-66 Jackie McLean Sessions" is my favorite Mosaic box set. While most of it is available on single CDs or streaming services, the inclusion of the so-called “High Frequency” session—which has never been available on CD except this box —earns it major points. The live recordings from SteepleChase feature the repertoire from this period. I really want BN to release "High Frequency" (and my another favorite, "Hipnosis" ) as a single CD or for streaming.

I'm definitely more interested in Mulligan as a baritone sax improviser, though I do think he was also excellent as a big band arranger and composer. He never could manage to sustain it financially long-term, but Mulligan seems happy when he's leading a big band on a spot basis. This is from his relatively later years; some might find it overly sweet, but personally I quite like it because it features plenty of Mulligan (and others) solos.

I, too, consider this one of Coleman's masterpieces. Around 1978 to 1979 was Coleman's peak period, and this rhythm section was a perfect fit for him (personally, I preferred Hilton Ruiz over Harold Mabern, whom he often worked with, as I found Ruiz more modern). However, I think this unit sounds better live, so I prefer the live recording from Ronnie Scott's in London. It's a shame it's not available on CD or for digital download.