mhatta

I think Lou Levy is one of the West Coast jazz veterans whose work since 1975 has been overlooked. While he has released several excellent albums as a bandleader, I feel he was essentially the house pianist for West Coast jazz from the 1970s onward. He also appeared on many Atlas recordings.

I was deeply moved when I heard Chet Baker perform the song “Sad Walk” in his later years. It wasn’t until some time later that I realized it was composed by Bob Zieff. Zieff is an exceptionally talented composer, and I believe his works deserve to be performed more often.

I didn’t know The Visitors had a third album. I’ve heard "In My Youth" because it was released on CD, and I think "Rebirth" hasn’t been released on CD, but I’ve heard it too, and it’s one of my favorites. I’d really like to give it a listen. I think they were very talented composers.

I recently heard Ben play “Confirmation” in 1964 and was surprised by how good he was. The theme was great, and the solo was in top form. I know there are many who disagree, but personally, I feel that Byas never quite managed to fully embrace the modern style (especially in his rhythmic groove), whereas Webster seemed more flexible with new rhythmic concepts. https://storyvillerecords.bandcamp.com/album/at-ronnie-scott-1964

I think he’s a very technically skilled and good pianist, but to be honest, based on the video, I don’t really understand why Allen Lowe is so excited.

It was a shame I didn’t get to see Geri Allen perform live. I’m probably in the minority here, but personally, while I appreciate her later, more traditional style of piano playing, I feel it was a bit “too serious.” Coming from the M-BASE scene, I preferred her earlier performances, where she really put her keyboards to work. Her music had a unique, ethereal quality—it was bright and open—and I feel like she never fully explored that potential before it came to an end.

Though not a Jazz Messengers album, I somehow like Bluesiana Triangle, where Blakey participated as a drummer. Since it was recorded just before his death, you don't really feel much power anymore, but it has a rich, savory flavor. I think his strength wasn't power, but rather his excellent taste. He plays piano and sings too.

I used to be turned off by this kind of “marketing ploy,” but I've come to think it's important to regularly remind people who don't know about them. Most jazz giants seem forgotten now or misunderstood. Better to be a nagging reminder than forgotten altogether.

Absolutely right! In terms of how a producer's name alone could make you buy an album by a completely unknown artist, Alfred Lion and Don were the twin pillars. Honestly, I had no idea who most of the leaders on Xanadu's albums were until I bought them. I bought them sight unseen, but they almost never disappointed. RIP.

I like it. Buster's bass has a slightly lower center of gravity than Ron Carter's and pushes forward more, so I think he matches better with the heavy Tony and the lighter Hank Jones than Carter does.

RIP. This was recorded in 1972. T

Spike Robinson was like that too. A whole generation of tenor players who idolized Lester Young seemed to hold their mouthpieces at an angle like this, trying to imitate Prez. I don't play sax, so I don't know what effect it has. Back in the day, I tried playing flat-handed across the keys like Bud Powell, but I couldn't play well that way.

Some people might dislike flashy stuff like this, but I actually quite like it. Or maybe I just don't really like the song “Invitation” to begin with...

I also have most of the first recording (which circulated as a bootleg), but I don't have the second recording at all, the one that includes Giant Steps and Satellite. If Tiberi recorded the second one, were there other taper(s) in Philadelphia besides Tiberi at the time? (I can't recall the name, but I remember hearing there was one). The sound quality of the first recording is terrible, so I hope the second one is at least a little better.

Joe Henderson in 1978 may not have enjoyed the widespread popularity he later achieved, but I believe he was in excellent form as a player. Also, Joanne Brackeen was at her peak. Personally, when I think of Steve Rodby, I recall him playing electric bass on Pat Metheny's best albums. However, it seems he originally played acoustic bass. I've heard a live recording of Joe Henderson in France from around the same time (November 1978), and Rufus Reid was on bass for that session (same pianist and drummer). Since Rodby was the house bassist at the Jazz Showcase, he might have been filling in for Reid. Danny Spencer wasn't particularly distinctive, but he was a competent drummer.