Shrdlu

You have not heard the album simply called "Coltrane", Impulse AS 21? It's a masterpice! Get it asap. It was derived from these sessions: John Coltrane Quartet John Coltrane (ss, ts) McCoy Tyner (p) Jimmy Garrison (b) Elvin Jones (d) Rudy Van Gelder Studio, Englewood Cliffs, NJ, April 11, 1962 10873 Soul Eyes unissued 10874 The Inch Worm Impulse AS 21 10875 Big Nick Impulse 314 589 567-2 June 19, 1962 10979 Not Yet unissued 10980 Out Of This World Impulse AS 21 10981 Soul Eyes Impulse AS 21 10982 Excerpt unissued June 20, 1962 10983 Not Yet Impulse 314 589 567-2 10984 Miles' Mode (The Red Planet) Impulse AS 21 10985 Two, Three, Four unissued 10986 Excerpt unissued Miles' Mode Impulse 314 589 567-2 Tunji - - - - - - - Impressions - - - June 29, 1962 10992 Tunji Impulse AS 21 10993 Out Of This World unissued The album Impulse 314 589 567-2 is the "Deluxe" 2 CD set that I mentioned in my earlier post.

Also got the first of the recent 5 CD LP facsimile Impulse box sets. The sound is excellent on these. The "Coltrane" album came over really well on the headphones. So did the first Village Vanguard album, which is probably my favorite Trane. A neighbor brought the LP around in 1963, and it just blew me away, even though to this day I don't really like "Chasin' the Trane". I'd never heard any of the 5 musicians before (possibly Trane on "Kind of Blue", but I'm not sure). The combination of soprano and bass clarinet was, at the time, very unusual, and there was this pianist playing these strange new chord voicings, plus a very original new drummer. It took me awhile, doodling on the piano, to figure out what McCoy was doing - voicings in fourths.* "Spiritual" is a masterpiece, with its seesawing alternating chords of Cm and G7 in 3/4. Elvin makes it swing like crazy. I also love "Softly, As In A Morning Sunrise". What a cooker! I wish they had recorded more standards like that at the gig - I find some of the material, like "India", rather tedious, and I'm really tired of "Impressions" after hearing and playing it myself so many times. (The sixties were an odd time for Trane fans who did not get to hear him live, because you would get the above album, then "Bags and Trane", then "Ascension", then a Prestige date from 1958, all fired at you, with very different styles.) ________________________________________________ * For the newcomer to music, here's an example of McCoy Tyner's trademark fourth chord voicings. Starting with the G below middle C, play G, C, F, A. This has an ambiguous sound, and can be played with more than one root note in the bass. The intervals from G to C, and from C to F are known as fourths. The basic major and minor chords, such as C, E, G, are in thirds, not fourths, and sound a lot plainer.

Been spinning "Not Yet", from June 62 quite a lot. Recorded at the sessions that produced the LP "Coltrane", this track was not released until the "Deluxe" 2 CD set of "Coltrane" came out a few years ago. "Coltrane" is a superb album, and I think they selected the right tracks for it, but it's a shame that "Not Yet" had to wait so long to be heard. Give it a spin and see what you think. If ever there was a single selection that encapsulated the work of the quartet with McCoy, Jimmy and Elvin, this is it! It's all there: the hammering fourth chords and octaves in the treble by McCoy, the strong walking bass of Jimmy, and Elvin's ride cymbal with triplets on the snare, plus a strong tenor solo. A very tasty track, it swings like crazy. Although I also like Trane's later work, I prefer it when his group swings - gotta agree with McCoy and Elvin there. Two other less well-known tracks from that period that I love are the quartet's versions of "Big Nick" and "Vilia". These were issued in the LP era, but only on the rather obscure "Definitive Jazz Scene" anthologies, and so they were missed by many Trane fans. They are also tasty examples of the quartet's work. "Vilia" is the only track that has been released from the session at which it was recorded; it cooks so much that I'd love to hear the rest of the music recorded that day. (A different version of "Big Nick" appears on the album with Duke Ellington.)

I first saw a pic of the "Hootin' and Tootin'" LP in a BN catalog in the late 60s. The album title gave the impression that it would just be a honking blowing session, and there were many albums that had a higher priority, so I didn't hear it back then. I finally got to hear it when the CD came out, and was delighted with it. I think it's an excellent session, very satisfying and not at all what the title suggested to me. Give it a listen when you can. Fred's work on the other BN sessions is also great stuff. It's sad that there are so few recordings with him.

That is definitely true, both for Trane and Miles. They had both gone as far as they could with Red.

I agree. Trane used Red over and over again, and his accompaniment was very sympathetic. Surely he liked his playing. Great though Art Taylor was, I imagine that Trane would have used Philly Joe a lot on the Prestige dates if possible. But the story is that Bob Weinstock didn't like Joe, so he only shows up on the Miles Quintet dates. Obviously that had to be the case.

I love all the recordings by the trio with Paul Chambers and Art Taylor - I have all except the session that was only reissued on LP. Someone put it well when he said that there are many more "important" recordings, but he found himself always coming back to Red's. It's a tribute to the quality of his playing that you pretty much know what's coming, and there are no surprises, but it just sounds so good. I could listen to him all day.

A few years ago, I heard a recording Chet made of "I'm a Fool to Want You". It was made toward the end of his life, and it was from a concert in Japan. I really enjoyed the mood of the track, which was quite intense - vocal and then trumpet solo. An atmospheric vocal by a jazz musician is hard to beat, and, for me, much more interesting than the work of professional singer (especially "classical", or opera).

Billie was on lots of the Wilson Columbias - from memory about half of the 10 CD Holiday Columbia set was Wilson sessions. Did Teddy record many sessions without Billie? If not, then the Holiday set is a way in.

Chewy, I've got all the Victor Fats and it's all great. I second what Lon said. Do you have a track listing for that LP? I had some of the 60s Victor LPs - they were billed as RCA Vintage. Their issue caused the loss of some of the 78 masters.

Did any pig ever get this disease? Papsrus, your dog's snout pic still breaks me up, hee hee. (I had a pic on here, but accidentally deleted it and when I tried to re-upload it, I got a message saying that the file is too large. I forget how to reduce the pixels. Most sites just take the pic without hassle.)

I heard she sent an email the other day too. The old Spitting Image had a good one about the Queen and that asshole Phil The Greek going to an ATM (for the first time). A 20 pound bill comes out and she says "Oooh, Phillip, it's got my picture on it!". So dopey old Phil says "Does it? Let me try, and see if I can get one with my picture on it."

Just a quick comment, to recommend a really tasty track. Miles's 1963-64 music is often overlooked because of all the interest in his groups with Trane, Shorter and so on. But I recently got the newish Columbia box set that covers 1963-64, and "Basin Street Blues" really stands out as a classic. (I had it on LP years ago, but it had become forgotten.) It's the quartet with Vic Feldman, Ron Carter and Frank Butler. What a superb, very laid back performance! Highly recommended for a spin on the old phonograph. Vic was such a fine pianist. It's a shame that he declined the offer of a permanent job with Miles, preferring the security of the L.A. studio scene. No wonder Miles wanted him. (I first heard Vic on the two "Peter Gunn" LPs, where he played vibes and marimba.)

Shrdlu would you care to comment on which JRVGs you like? I am preparing to unload some of mine, but I have not had the chance to compare many of them to other remasters. And I don't have my main system set up right now; after moving to a smaller house. Your input would be appreciated! FWIW, I have in my notes from old BNBB posts that the first 250+ JRVGs are much narrower stereo than RVGs of the same titles. But starting somewhere around June of 2003, JRVGs and domestic RVGs were made from the same remaster... I don't have time right now to sift through all the ones I have, but I do recall liking Tony Williams "Spring", Don Wilkerson's "Preach Brother", Sonny Clark "Leapin' And Lopin'", Kenny Dorham "Whistle Stop", Kenny Dorham "Trompeta Toccata", Herbie Hancock "Speak Like A Child", Jackie McLean "New Soil", Hank Mobley "Roll Call" and "Workout", Lee Morgan "Delightfulee", Horace Silver "Finger Poppin'", and Jimmy Smith "Back At The Chicken Shack". Hope that helps.

I saw Monk in the dressing room on that Giants of Jazz tour (1971) and he did look almost comatose. I don't remember the music being all that good - Art Blakey was against the whole idea, and I think he was right. But the solo/trio session Monk recorded in London during that tour is one of his very best. I'd love to hear the later recordings in this thread.

Riverside started doing some recording in stereo in early 1957, but not at all sessions. And, as was said, their stereo machine did malfunction at times. For example, it acted up at the Monk's Music session (1957) and the one with Monk and Mulligan (also 1957), and the Bill Evans Trio session where they did "Autumn Leaves" (1959). So some tracks from those sessions only exist in mono. Blue Note sessions were all recorded in stereo from about May 1957, but Prestige did hardly any in stereo until about March 1958. The only stereo Prestige session from 1957 that I know of is the John Coltrane "Wheelin' And Dealin'" session (with Paul Quinichette and Frank Wess).

The point really is that our law/court system has shifted from a justice system to a money making system. They just want to grab anyone who has any money left over and drain more out of them by any means possible. That's why I have 0% respect for it all now. It has come a long way from the way it was when I was a kid. Just to repeat what I said earlier, I'm not suggesting that we go at 70 down Main Street or past a school. I still do my best to be courteous and use common-sense.

In the case of Horace, the Mosaic remastering is very good. So good that I never bothered to search out any of the TOCJs. Very tasty music.

This should come out as a regular CD. Who's going to buy mega priced tapes and 45 rpm LPs? As was said above, today's market for jazz is not doing all that well though, so we might not see it in the near future. That's one reason why I'm into house music these days. I really enjoy it, and it's real popular with a large number of teens and 20s. Where I live, hardly anyone goes out to hear jazz - mainly a small number of grumpy old farts. I just got tired of all the struggle to keep it going.

Not all of the Blue Note vault stuff has been tapped out. There are dozens of Three Sounds selections that have never been issued. The problem seems to be that there are too many for economical release. For me, their BN sides are like the Red Garland trio Prestiges: nothing unexpected, but incredibly groovy and enjoyable to play. I could listen to either group all day.

A pair of congas will run you about $400. I recently got some bongos, made in India, for about $80. They have a terrific sound, and are good with sticks and brushes, as a micro drum kit. I have a friend in India who tells me they have triple congas there.

That Pres should be great. Can't wait to hear it. A friend in France sent me some airshots of Basie from the late 30s, running 6 mins and more. Pres is able to stretch out and it's awesome. What a shame we didn't have tapes back then, as, for me, Pres was at his best then. The Decca 78s of Basie are wonderful, but you only get 8 or 16 measures of each soloist. For those who don't know, there are stories of 30s jam sessions where Pres played about 30 choruses without repeating any ideas.

Wasn't that pic of Monk as a pilot on one of his Columbia albums?

Welcome to the board, mzm2lh. Fabulous to hear that they are still making B3s! I was clubbing tonight and you hear a B3 sound in quite a lot of house productions. (e.g. "Emily", by Butch).

John Cage's "Silence" is a pianoless none-et. I heard it once.