mhatta

Joe Lovano is clearly an excellent musician (and very nice guy, I heard), but I personally am not crazy about him. I don't know why. Lack of excitement, perhaps? Even a saxophonist of far inferior skill than him can get me excited. Being said, the Village Vanguard live was pretty good, the first song on Folkart by Us Five was pretty good (the rest not so much....). And albums with Motian were not my favorite either. Any other suggestions?

RIP. His playing with Benny Green was awesome. Malone was scheduled to appear at Blue Note Tokyo until the 23rd, but apparently died suddenly on the 22nd. However, Carter and his pianist did a show in Takasaki on the 24th without Malone. That's pure professionalism.

According to an interview with Ethan Iverson, Cedar Walton did not like Haden's playing very much. What part of it did he not like? https://ethaniverson.com/interview-with-cedar-walton/ ----- EI: Did you ever play with Charlie Haden? CW: A little bit. Once he invited me and Higgins up to Vancouver – when I was living in California – for a festival. That’s about the only time. I was spoiled by Sam Jones and Ron and Ray and people like that. Mr. Haden had his own world and I had mine on another avenue. So be it. But thank God there’s a lot of good bass players, most of them based here, I’m afraid. George Mraz comes to mind. Great people. I’m lucky.

According to The John Coltrane Reference (the authors have located a contract letter sent from Nesuhi Ertegun of Atlantic to Teddy Reig of Roulette), this session was a one-off deal. Atlantic, with whom Coltrane was under contract at the time, had given Roulette permission to record only one side of the LP, which is why there are only four songs.

Sir Roland Hanna is an enigma to me. He is clearly an excellent pianist, but something is missing. I just don't know what it is. This one is my favorite, though.

Gigi Gryce

I am not sure what JSngry had in mind, but in Live From Sweets Ballroom 1950 they seem to play Trajectories live. It is certainly a fiery, surprisingly swinging performance.

Whenever I think of Brad Mehldau, I always think of this 2004 Live In Tokyo. I saw this recording live, and although I felt the entire show was a bit redundant, the encore, "River Man," was so wonderful that I was stuck in my seat with emotion. However, when I listen to it again on CD, I am not so moved. I am not so interested in the subsequent Mehldau outputs. Maybe it was because I was young and foolish, or maybe I am not in the right mood for his music.

I knew that When Lights Are Low had an original Benny Carter bridge that was different from Miles' performance (and I too love Chet Baker In New York because of the rare Al Haig appearance in the 60s), but I must confess that I had never heard the original bridge before. I listened to it for the first time, and I must confess that it sounds somewhat old-fashioned. Speaking of raising the bridge the 4th, so does Bemsha Swing. It seems to be a common feature in many of the songs Miles featured. Maybe because he liked it or because it was easier to play.

I always want to hear or see the complete version of this 1972 Montreux show, I think I, Eye, Aye is incomplete. They do Never Say Goodbye at the end of the show (there is a fragment of it in One Man Twins on VHS), and it is a tremendous performance.

Pullen's work for several Charles Williams sessions is great.

I wish we had a time machine. But is there really no full recording left?

Somehow missing from his Wikipedia entry, but I loved his Blues For Brother Ray. Very nice tribute to Ray Charles. Died too young. RIP. https://jimrotondi.bandcamp.com/album/blues-for-brother-ray

Charlie Rouse's unsung gem. The main body is good, but the last bonus track, One For Five, is just wonderful.

It's been hot in Tokyo lately, so I've been listening to a lot of albums with wild tenors (not Stan Getz style) playing bossa nova, samba and calypso.

I have the Atavistic CD and all the songs in this "expanded" edition seem to be some seconds shorter than Atavistic ones. Is it alternate take or merely a tape speed correction or something? And Door Squeak is not included. I think Door Squeak is essential for Strange Strings.

Kenny Drew(and Tete Montoliu), NHOP and Alex Riel was one of the best rhythm sections in jazz history. RIP.

Come to think of it, Charlie Parker's first 'recording' was a solo saxophone - could it be a Hawk influence? Anyway he plays "Body & Soul"...

My favorite is Lee Konitz's Lone-Lee. Almost 40 min of "The Song Is You" is a small wonder. st

Although not as a regular, a recording with Art Blakey sitting in the Five Spot Cafe band on 9 July 1958 (Bye-ya and Epistrophy) is issued in The Complete Riverside Box. I can't technically explain well why, but certainly Art's way of getting things going is very "compatible" with Monk. Shadow Wilson is in the same way (maybe they share a bit old-style rhythmic concept?). Roy Haynes is good, Frankie Dunlop or Philly Joe is very nice, but I personally find it more strange that Max Roach didn't mesh together with Monk IMHO. Of course not bad, but something is off. As for bassists, a solid walker is a good match with Monk. How did it go with Leroy Vinegar?　I would love to hear how it sounded with Scott LaFaro or Gary Peacock or someone like them, I guess it wouldn't have worked. Wilbur Ware was also not a good match with Monk, I think.

Very good one! Lou Donaldson's "The Scorpion" (actually an alternate take) is better than the issued take. John Patton's "Villiage Lee" (I think its real name is "Lite Hit") is also wild. And the soulfully sentimental "You Want Me To Stop Lovin' You" composed by Walter Davis, Jr.

My personal favourite BN Grant Green is not the hard bop playing Green, but the funky Green, like Alive!, Live at the Lighthouse or Live At Club Mozambique, Green Is Beautiful is good too. I feel like he speaks his own language on them. And "speaking his piece" is my definition of jazz.

Oh, now I see. Thanks!

One of my favorite piano trio records, Yancy Korossy's "Identification" (MPS) has "Hans" Rettenbacher on bass. Is this J.A. or Harry or a complete stranger? Aladar Pege might be well known in his native Hungary, but little known outside his country. He possesses incredible technique.

Seconded. Especially A view from the side is my favorite.