Shrdlu

Was ist das?

... anyway, the AMG's comments are just random noise ... (But I find the website very useful.)

Bring on "Moose and Squirrel" (with Russian accent)

Here are some more gems: "Down Here On The Ground" with Wes Montgomery "Django" on the Cal Tjader "Hip Vibrations" LP (no CD of this, alas) "Feelin' Groovy" on the Paul Desmond album "Bridge over Troubled Water"

I am also very fond of Freddie's BN sessions, as leader and with Ike. There's no need to toss out John Patton's stuff, though. They're both excellent, and, obviously, quite different from each other.

I would like to rise to the defense of Paul's arco work. I think it's amazing, and I've enjoyed it for years. He is the only one I've heard that could keep up with the beat while doing that and sustain it, even on an uptempo number. What's shaky about it? The intonation is almost perfect, the tone is good, and he was trained by a symphony guy in Detroit. I can understand if someone took awhile to get used to it, but it's well worth acquiring the taste. Miles and Trane would not have tolerated it if it was bad.

We don't really need Michael for these. There are always the TOCJs and JRVGs, and they would sound better than the rare domestic CDs. I know some people who have those, and one could find them by grubbing around for awhile. It takes time, but I've found that you can track down just about anything if you stick at it.

My three kids are well out of the diaper stage by now, but they sure were handy! Here's something for you to consider, re how spoiled we are. I have friends in Andhra Pradesh, India, and they want me to go visit them. So I got this book on South India, published by an outfit called "Lonely Planet". They point out that the sewage system in India cannot handle toilet paper, and so alls you get is a jug of water and you have to use your (left) hand. (This grossed out my daughter!) It is a huge insult to offer your left hand when shaking hands in that part of the world. As I am left-handed, I wonder where that leaves me.

"Moanin'" has generally been ignored, but it's quite a good album.

... an Evening

Thanks, Mike and John, for the info. I'll have to look out for this live material. What a mess this reissue is. Talk about careless. I'm speaking as one who was sent burns of some tracks from the Savoy studio sessions, all scrambled up on different disks. I had to spend quite a while comparing the different takes of some tunes, to see whether they really were different. So why can't the record companies do it. This was before the recent 2 CD set came out, and I was at the time unable to purchase official versions of a lot of the tracks. All I managed to land was a Japanese Denon CD called "The Master's Touch", which lacked several takes.

When they list a Latin adjective in a dictionary or exercise book, they always give the three endings, e.g. optimus, optima, optimum, shortened to optimus, -a, -um. As was said, this is for the masculine, feminine and neuter cases. I was made to grind through this junk for three whole years at high school. It was like math in a way. All you had to do was memorize the rules and regurgitate it on the tests. At that time, any high school student would have known exactly where the Mingus album title came from. I don't think there are any hidden, freudian meanings. It was just a school cliché during that era. I also recall the gem "hasta - a spear, when addressed". I am glad to see that the schools have largely dumped the Latin since then. What a waste of time.

Kenny, try to get a copy of "I Will Wait For You" from the "The Creeper" album. It's in the Mosaic set - and that's probably your only way of getting it. This is a stunning slow performance, superbly accompanied by Chick Corea and Miroslav Vitous. It's worthy of Miles Davis and your show would not be complete without it. This item is worth two dozen routine hard bop selections, of which there are many in the discography of this trumpeter.

Probably the Hawk (just as you would have to say Louis Armstrong on trumpet), simply because he transformed the tenor from being a novelty instrument into a serious solo instrument in jazz. He has never been my favorite tenor, and never will be, but his importance could never be over-exaggerated. He was a real pioneer. I also greatly admire the fact that he did not become a "moldy fig" when the modernists came on the scene. A close second would have to be Pres. Without those guys, there would never have been the Tranes, Getzes etc. My personal favorite from your list is Trane, but his importance transcends the saxophone of course.

I didn't know that Savoy had any live Pres. I have all takes of the studio stuff (4 sessions). What's on the live CDs?

Oh, you had the original LP? That would probably have the best sound ever, after the actual session reels. That LP will be hard to find. No doubt they only made one pressing run of it.

I think I'll give us a break from those nesting tables! King, I love "The Way I Feel". It's perhaps my favorite Patton album. I agree with you, Vibes, that the TOCJ [is great [is great [is great]]]. My favorite track is the title track, which is the one on which Fred plays baritone. He really digs in on the big horn. Great stuff.

I wonder why these were never played. It sure is an excellent collection. No Tina Brooks, by the way. An estate, huh? "We brought nothing into this world, and it is certain that we can carry nothing out." (I Timothy 6:7)

I love this set, and Ron got the sound right, too (for once, there's no need to track down the TOCJs). As someone said, that trio had a gait of its own. George Tucker is a wonderful bassist, and I agree that he is reminiscent of Mingus - a very strong plucker. Let's all go and play "Wadin'"!

Some fine suggestions! Isn't it great that there is still a lot of superb stuff out there that we can look forward to. It's been said before, but a complete Three Sounds BN 1958-62 set, with all the previously unissued items (over 200 selections, I'm told) would be very popular. Surely the Nat Cole set is bigger than that. (18 CDs, wasn't it?) I sure would like to get my hands on the Hutcherson/Land non BN sessions. Years ago, I found French Musidisc LPs of the Milt Jackson/Lucky Thompson Savoy sessions. This is very enjoyable, relaxed music. Someone recently sent me a rather ragged burn of a two LP set that contains all of this, and it sure was good to hear it again.

I recently landed a copy of Vol. 3 on eBay for about 10 bucks - maybe no-one else noticed it. It's a hodge-podge that cries out for one to make custom burns to untangle all the tracks on the three TOCJ CDs. The selections on this Vol. 3 are not all on the U.S. 2 CD Conn set. It has tracks from the Vol. 1, Vol. 2, Blue Lights and Five Spot sessions. It was assembled by Michael Cuscuna, and he should have included all the 2/10/57 tracks with Hank Mobley that are in the Conn set - there is plenty of unused space on this CD. As a result of this omission, if you have the three TOCJ CDs, Vol. 1, Vol. 2, and Vol. 3, there are still three tracks in the Conn set that you don't have. The non TOCJ tracks are: Nica's Dream, Out For Blood, and K.B. Blues (alt.). So it's a rather unsatisfying situation.

Jazz1, don't be afraid to speak up, if you have an opinion. Actually, you have voiced precisely what I have always thought about him. He's obviously a good bassist, but I have never understood why all the fuss is made about him. A problem with jazz is that there is often an "official position" about a given player, and if you dare to disagree, then you feel like a truckload of bricks has been dropped on you. But each individual has a right to their own opinion. My opinion is just mine, and is only one person's opinion. So, if anyone disagrees with me, that's no problem.

Brownie, how would you compare the sounds on the Conn, TOCJ and JRVG? As usual, the TOCJ is excellent. I have not heard the JRVG. The Conn sounds fine to me, and, of course, it is the only source of the unissued April 62 session. It's just as well that the sound is good on that, as we won't be seeing it anywhere else. For the record, for those who don't know, the rhythm sections from these two Jackson sessions were used by Ike Quebec for some of his "45" recordings - these were in the Mosaic 2 CD set. Also, as well as appearing on the Willette session, Fred was on two John Patton albums ("The Way I Feel", where he also plays fine baritone on one track, and "Along Came John").

I must admit that I haven't heard the album in question, but, although Stitt was a superb musician, and I enjoy hearing him every now and then, I find that a little goes a long way. He uses the same licks over and over - it's as simple as that for me. My favorite by him is the Verve "Boss Tenors" album, with Gene Ammons. Having the other horn gives extra variety.

Here's a gem that you don't hear about much. I first saw it in a 1967 BN catalog that they mailed me when I took the "For free catalog ... " offer literally. I thought "Fred who?" and passed over it for years. Fred may have shot himself in the foot with the title, as it gives the impression that it's a "yackety sax"/"meathead macho tenor" album. I don't think it went anywhere when it was issued on LP. Perhaps many others thought as I did. I first got to hear this when I got a copy of the Conn CD, and I now have the TOCJ. This is actually an outstanding session. As with the famous "It's Friday ... but Sunday's Comin'" sermon by the black preacher, there's nothing there that's really new, but it's all done so well that it's a ball to hear. The compositions are all by Fred, and they're all simple things, but this album successfully avoids the pitfalls of a routine blowing session. Everything is so satisfying! I must have played it 20 times by now, but it really holds your attention. A big reason for the album's sucess is that the guys regularly worked together in an R & B band. The rhythm section is sooo tight. And I love Jackson on tenor. It's a shame that he's never been heard of since. (He is hidden in the ensemble on the Hutcherson "Montara" album, but has no solos.) After hearing this, I wondered why I had never heard of the organist, Earl Vandyke, who is excellent. The AMG guide says that he was used on many a pop session. This album was a rare chance fo him to blow. By the time that this album was released, Alfred Lion (who was very pleased with it) had recorded another session with the same lineup and Sam Jones added on bass. The second session went unreleased until the Conn CD came out. Although I am against using a bass fiddle with a B-3, the second session is also a gem.