Shrdlu

I love some good bone too. Hardly original, but J.J. is my favorite, and "Proof Positive" (Impulse, 1964) my favorite album by him. Some other great bone moments: Bill Watrous's entry at the end of Chick Corea's "Leprechaun" album. Curtis Fuller on Joe Henderson's "Mode For Joe" album (Blue Note, ca, 1966). Gil Evans' brooding score on "So Long", on the rare "Walking In Space" LP (Ampex, ca. 1969) has some glorious farting bass trombone in the mix. Antonio Jobim used trombone and flute a lot, to good effect. Someone asked about the bass trombone/alto flute combination. One example is on Herbie Hancock's "Speak Like a Child" album (Blue Note, ca. 1970).

That should be a great read. Jimmy was also briefly interviewed by a writer called Valerie Wilmer, years and years ago. And he was also on Marian McPartland's "Piano Jazz" once. Lol, there was a last page in that Wilmer book, entitled "The One That Got Away". It went something like this: "But Mr Davis ...!". "Listen, baby! When I say later, I mean later ...."

That's really interesting, Allen. I'm amazed that Sonny didn't stick with his Selmer MK VI. If it ain't broke .... I was lent a Beuscher alto years ago. The owner's grandfather had played it with Jimmy Durante, I was told. It was a solid horn, with a good tone, and I don't remember any intonation problems. But the keywork was clumsy - it was awkward to play it fast. I've never played any sax with keywork as good as on the Selmer MK VI. Currently I've got a Selmer Super Series 80 Soprano (or some similar name, ho hum). It doesn't even come close to the MK VI soprano that I used to have. I had it in the repair shop recently, and the guy there showed me a MK VI that he said he might be selling. I said I would like to do an exchange. But Cursedmass intervened and when I went back to get my horn, he told me that the MK VI was already sold. D'oh!

I love Pat's album with Charlie Haden: "Beyond the Missouri Sky". He uses some (overdubbed) strings on "The Moon Song", which is the high point of the album. The track sounds fantastic.

To answer your subtitle: no.

Lol, a happy ending. Good ole OJC.

At one point - not sure when - Red took time off to return to Dallas to look after his sick mother. I think it was in the late 60s.

Yes, and I got some BN LPs when they first came out, but many CDs sound fine and $2000 is ridiculous for an LP.

After all these years, I'm surprised that there still is eBay craziness. The days of people tearing their hair out to get a copy of "True Blue" (Tina Brooks) and the JRVG of "Blue Train" (by, err ....) ought to be long gone, after all the re-re-reissues. And I still don't know why there is all the fuss about original Blue Note LPs. I still remember getting a CDr of the "Blue Train" JRVG from a friend, playing it once, and then parking it on a shelf someplace. I've never dug it out since, lol. (It was temporarily OOP at the time.) There was far too much impatience in the late 90s about CDs.

Aww, sorry to hear that. Bev. I got to hang out with him and the others at Ronnie's the night I was there. Real nice guy. I didn't know that he had worked with the likes of Stan Getz and Bill Evans, but he certainly was good enough. In New Brunswick, I asked Oscar Peterson if he had heard him, and he said that he had. I don't know whether Ron worked with Oscar, but Martin Drew certainly did.

Wow, what a debate! I skipped to the end after page 3, lol. Genug ist Genug! Not taking sides, but I think Pops was a superb blues player - those minor thirds bent up about a quarter tone make the hairs stand up on the back of my head. Even though you know exactly what's coming. Jim, nice quote: "Marsalis's ... dogmatic effluvia".

And why do people watch those boring shows with clips from the cams in cop cars?? "He thought he could beat the Law, but Officer Coltrane had other ideas ......"

I've never even heard of that one! Thanks for bringing John's name up. He's excellent. I saw John, with Ron Matthewson on bass and and Martin Drew on drums, at Ronnie Scott's in London, England, in 1974. They were probably billed as the John Taylor Trio. They were backing up Zoot, who was in his usual fine form too. The temporary Quartet gelled very well, and it was a superb evening. I wish they had been recorded, partly because Zoot's recordings at the time (done in the U.S.) had a mediocre rhythm section, and the one at Ronnie's crapped all over it. I especially remember being blown away by Ron's bass playing: he could do the Ron Carter thing and also the Richard Davis, as well as being his own man. Zoot was looking on in amazement. One tune that I still remember from that night is Fat's Waller's "Jitterbug Waltz"; I'd never heard that tune before, and it was an unlikely selection, but Zoot really dug into the tasty chord changes, which were tailor-made for him (no pun intended). Added: I lie, that selection was on the LP that Miles did with Michel Legrand back in 1958.

Best club hit of 2009 is "Crazy Bitch", by David Guetta, featuring Senegalese singer Akon. It's a very catchy song. There are 14 different mixes, but the original (club) mix is the best, I think. Guetta has pioneered an unique house/dance style.

Welcome to the board, mate! I think you will be happy with the old OJC CD. I've never heard a bad OJC, as long as it's a U.S. version. (Avoid the European 20 bit OJCs - they are terrible.) As the OJC CDs are much older, the tapes would have been in better shape when they were made than they were when they were dragged out again for new remasters. This is definitely an issue when it comes to Blue Note CDs. I know cases where the old Japanese "Blue Note Works" CDs have no tape problems, whereas the much more recent RVG CDs show tape deterioration.

Limelight put out a 2 LP set of some of this material too.

NIS, you can get an excellent cellphone with music free with an airtime contract. They are not just "ok" for sound, as someone said, they are great. Also, get some over-the-ear headphones, not those bassless, tiny earbud things. My Sony Ericsson W 810i phone is great, but I recently got a Nokia 5800 (free) and that sounds great too. Both take a 3.5 mm phone jack, so you can use any headphones you like with them. (With Sony Ericcson, the W stands for "Walkman", in case you didn't know.) There is no need for an expensive Ipod when the phones are so good. And the phone memory card can always be upgraded, if necessary. Mine are 8 GB, which allows for tons of music. Hope this helps. I also have a phone jack connection to my car hifi, so I can plug the phone into it and groove at high volume levels, which is great cos I have a very hostile neighbor, who goes to bed at like 9:00 pm. Oh, also, get a spare phone battery on eBay - at a fraction of the phone shop price.

The U.K. freaks annually when a drop of snow falls. What would be a day of relief in most of Canada and the U.S. becomes a national state of emergency. Temps such as 28 degrees are described as "bitterly cold", lol. If, say, Canada closed everthing in those conditions, it would be closed for about 5 months. Lotsa fun, hee hee.

I've got two great ones. A Barry Harris date for Prestige, about 1961, with Elvin on drums. And Denny Zeitlin "Expansion" (1973). That is strictly LP only. It was mail-order only, originally. A fabulous, experimental album, well worth a listen - if you can trace a copy, lol.

Did he get a kiss from President de Gaulle?

Paul Desmond and Charlie Mingus - never could tell them apart. This all reminds me of James Thurber, who wrote an article about his wife's friends all being called Mollie, Millie, etc.

Thanks a lot for posting that. It was very enjoyable to read. That was a great session, and "Night Wind" is an absolute classic. I wish Fats had recorded more Rhythm tracks on the organ, but it was a long trek over to Camden from New York. Much the same information is in Dan Morgenstern's excellent notes for the first RCA box set of the Rhythm recordings - sadly, long OOP.

Hey Rudy, put this on the record. ALL OF IT!

Ca, c'est très joli!

You can hear Trane saying that at the start of "Impressions" at the Dec 61 Village Vanguard gig.