mhatta

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.

I love to see a Lee Morgan 60s mosaic, but I more want a Wayne Shorter BN Mosaic set. And I hope it will contain the unissued session (maybe prototype of Odessey of Iska...)

Bobby Hutcherson's Blue Note outputs The new Mosaic box will cover: The Kicker (1963) Dialogue (1965) Components (1966) Happenings (1966) Stick-Up! (1966) Oblique (1967) Patterns (1968) Total Eclipse (1968) Spiral (1965, 1968) Medina (1969) Now! (1968) -- seems omitted, available on CD San Francisco (1970) ---- After 1970 Head On (1971) -- available on CD Natural Illusions (1972) -- available on CD Live at Montreux (1973) -- available on CD Cirrus (1974) -- in Mosaic Select 26 Linger Lane (1975) -- available on CD Inner Glow (1975) -- in Mosaic Select 26 Montara (1975) -- available on CD Waiting (1976) -- in Mosaic Select 26 The View From The Inside (1976) -- in Mosaic Select 26 Knuclebean (1977) -- in Mosaic Select 26 All of them are available on Spotify anyway.

Summer Nights is my favourite Joe Pass album because Pass plays it so freely (even more so than the famous For Django), but that's also because of John Pisano's solid backing. A great artisan. RIP.

Personally, I feel that the tenor player who worked best with Larry Young was Booker Ervin. The session that came out as bonus on a Pony Poindexter CD was a cool mix of traditional and advanced. I think they should be better known.

Absolutely at his best when he was in Hal Galper's band in the 70's, but in more recent recordings, this was good enough to hear Randy's solo in a straight-ahead setting.

Albert Stinson played bass in Miles Davis' band in 1967, subbing Ron Carter. The bootleg exists, it is quite a good performance. Jan Arnet, who played bass on Booker Ervin's last leader session (later issued as Tex Book Tenor), is another interesting figure. He was born in the Czech Republic, defected to the West with his wife and daughter in a bass drum case, retired from jazz in the 1970s and apparently had a successful career in finance; he died in 2017.

Gary Mapp (played with Monk) Putter Smith (not really obscure, 007 movie fame) Addison Farmer (not really obscure, Art's twin bro, died too soon)

Bought a long time ago (I think in 2006, when it came out). I didn't think it was a bootleg as it was in proper paper packaging and I bought it from a regular CD shop. I think it's called so-called half official or gray market stuff. There are English liner notes and (presumably) Russian translations. It says 'Manufactured in EU / Under license from Universal Music Plc., Russia', so at least they had a contract in Russia, I guess. Musically, the atmosphere is a bit different as Leroy Vinegar plays bass instead of Smith's feet. I quite like it.

This year in Japan there will be a large De Chirico exhibition in Tokyo and Kobe, and I am looking forward to seeing "The Seer", famous for Thelonious Monk's "Misterioso" jacket cover; every time I go to NYC I visit MoMA, where it is housed, but I have not yet to see the actual piece.

From memory, the standalone CD of Vol. 1 has a relatively long tuning, club buzz and laughter before the opening Fire Waltz, while the box set track starts abruptly (I only have the box set now). Maybe it's just me, but I like it better when there is club noise for a while and then the performance.

I think Bill Evans's final live box sets, such as Consecration, recorded just before his death, were valuable in that they highlighted the essence of Evans as a musician -- fundamentally the Bud Powell successor, not a lyrical cocktail pianist. Obviously he was very ill, but It is like a supernova just before it explodes, or a great meteorite just before it burns out.

Bonnie Raitt's Give It Up, produced by Cuscuna, is very good. I think Barbara George cover of I Know is especially great.

Japanese free saxophonist Kaoru Abe may not be well known here, but a 3-CDs compilation of his 1971 shows at several universities and a jazz cafe in the Tohoku region in Japan came out a few years ago and was very moving. It is well comparable to Eric Dolphy, in my opinion.

Sad news, but I think he lived a full life. Rudy Van Gelder once said in an interview or something that he considered himself a messenger of jazz, and Cuscuna has been (at least to a generation like me who did not experience the golden age of modern jazz in real time) also a great messenger of jazz. RIP.

Art Tatum: Jewels in the Treasure Box: The 1953 Chicago Blue Note Jazz Club Recordings. https://resonancerecords.org/product/art-tatum-jewels-in-the-treasure-box-cd/ I completely missed the release announcement (the LP is coming out on RSD, and the CD is due next week), but I am very excited about it. The fact that it was recorded live at the Blue Note Club in Chicago implies that it has the exact origin as the recently unearthed recordings of Jeri Southern or Lennie Tristano from Uptown Jazz some years ago, and the sound quality seemed fine when I listened to the samples on Bandcamp. I also liked the atmosphere of the audience at the club, who were in high spirits after witnessing a little miracle. I know there are those who have different opinions, but I personally prefer Art Tatum's group playing to his solo piano playing (piano solos are of course great, but gradually getting tiring) and I prefer the live recordings to the studio recordings. This edition of the Art Tatum Trio with Slam Stewart on bass and Everett Barksdale on guitar is possibly the best unit Tatum ever had. I already have many Art Tatum sources, but still an excellent addition.

Several live recordings from the 1960s remain unreleased (such as the August 15, 1964 Pep's show, w/ Joe Henderson). I heard Horace hated live recordings, but I wonder if they will ever be released to the public.