kh1958

As a visitor to New York City on occasion, my comments regarding the jazz clubs and the experience offered to a visitor would be as follows: 1. Village Vanguard--the best club in terms of sound and history; they usually treat you decently. 2. Jazz Standard--this club has good sound, is quite intimate, and is the friendliest of the upscale clubs. It's now my second or third favorite club. 3. The Fez at the Time Cafe--If in town on a Thursday night, the Mingus Big Band is mandatory. A really thrilling, intense experience. 4. Sweet Rhythm--The reincarnated Sweet Basil; an excellent club. 4. Birdland--A nice club but rather pricey; they've usually treated me pretty well. 5. Iridium--again, a nice club I like, but also pricey like Birdland; their treatment of the customer varies based on how crowded the club is (that is, go there during the week, not on the weekend). 6. Blue Note--I don't care for this club much. 7. Fat Cat--This is a very informal club attached to a pool hall, kind of shabby, but has good music. 8. Jazz Gallery--I like this venue, which is a small concert room, not a club, which has interesting music and an intimate setting. 9. Knitting Factory--They don't seem to ever have jazz when I'm in town, but I used to enjoy going here.

I actually thought that Laying in the Cut and Chasing the Gypsy were pretty close to being his first great recordings as a leader. As a sideman, Ronald Shannon Jackson's What Spirit Say, is a great album.

I was quite disappointed when Mingus at Carnegie Hall was reissued on CD and the first set was not included. I wonder if it still exists (I thought I read there was a fire which destroyed some Atlantic tapes).

A Song Everlasting is the title of one of their two excellent Blue Note recordings, the other being Breakthrough.

I believe that the Don Pullen/George Adams Quartet (Cameron Brown on bass, Dannie Richmond on drums) released 13 albums (one with Louis Nash on drums) on 5 labels between 1979-1988 (I'm missing one on the elusive Palscenico label). So this is presumably not a complete set. But the two Blue Notes, which this presumably includes, are two of the best. I really regret not getting to see this group live, as they are among my favorites.

I sure like her alot also. I've had the opportunity to see her live a couple of times in the last few years--with Wallace Roney and with a group including Chico Freeman and Richard Davis, and left very impressed with her playing.

I saw them at Fez last October--it was great as usual.

My two favorites of his are the duets with Charlie Haden, As Long as There's Music, and the incredible High in the Sky trio recording (reissued on Fresh Sounds).

This may be my favorite '60s Blue Note recording.

As usual, the press does an incredibly poor job of describing what is happening, however, it is my understanding that the insider trading charges were dismissed by the judge on the grounds that the government didn't present enough evidence to justify going to the jury. She has been convicted of lying in connection with the government investigation of her alleged insider trading. In other words, she was not proven guilty of the alleged insider trading but rather of obstructing the government's investigation of a crime she apparently did not commit.

I've wanted to go to Sista's a time or two when in Manhattan, but I sure don't know how to get there, or anything about Brooklyn.

I listened to volume 24 this morning. I was really taken by some of the Cootie Williams/Bud Powell tracks included after the Bird material. There's even a Cootie/Bud duet on West End Blues.

Miles is great. He's a great trumpeter; his tone is beautiful; he plays with wonderful technique (so he's not as good as Dizzy or Clifford in that respect, but who is); he's a great bandleader; and he's innovative.

Charlie Parker, Charles Mingus, Elvin Jones. (in the alternative, substitute Coltrane for Bird.)

The list goes on and on, but a few of my stops would be... Louis Armstrong in the late 1920s/early 1930s. Lester Young in Kansas City in the late 1930s. Duke Ellington Orchestra, 1940-41. Charlie Parker on 52d Street-mid to late 1940s. Bird/Diz/Bud--Massey Hall, 1953 Clifford Brown with Max Roach--1954-55 Monk with Coltrane at the Five Spot--1957 Ornette Coleman at the Five Spot--1959 Miles Davis with Coltrane--1960 European tour Charles Mingus at the Showplace, with Eric Dolphy--1960 John Coltrane Quintet with Eric Dolphy--1961 Charles Mingus at the Village Vanguard 1963--Black Saint big band. Charles Mingus European tour 1964, with Dolphy, Byard, Jordan. Lee Morgan--circa 1960s.

The list goes on and on, but a few of my stops would be... Louis Armstrong in the late 1920s/early 1930s. Lester Young in Kansas City in the late 1930s. Duke Ellington Orchestra, 1940-41. Charlie Parker on 52d Street-mid to late 1940s. Bird/Diz/Bud--Massey Hall, 1953 Clifford Brown with Max Roach--1954-55 Monk with Coltrane at the Five Spot--1957 Ornette Coleman at the Five Spot--1959 Miles Davis with Coltrane--1960 European tour Charles Mingus at the Showplace, with Eric Dolphy--1960 John Coltrane Quintet with Eric Dolphy--1961 Charles Mingus at the Village Vanguard 1963--Black Saint big band. Charles Mingus European tour 1964, with Dolphy, Byard, Jordan. Lee Morgan--circa 1960s.

I found this website, but saw no mention of the Clifford Brown series. http://www.philologyjazz.it/ To my dismay, the site lists an additional 17 "unofficial" volumes in the Bird's Eyes series.

Pardon pardon me me for for repeating repeating myself self.

I like Seventh Avenue Stroll the best. I've enjoyed the two times I saw him live better than any of his recordings I've heard.

I like Seventh Avenue Stroll the best.

Same here, only one time.

I would recommend buying the Birds Eyes series on Philology over the Dean Benedetti set.

This is the composer who did the music for early Roman Polanski films?

Three of my favorites, whom I'm only seen separately, together at once, sounds great. (You might want to search for recordings by the Moffett Family Jazz Band. What a band that was.)

O I love most of these guys. Ayers is my favourite, because his sound is sooooo beautiful, more than that of any other vibist, and during years with Herbie Mann he played some very exciting rhythmical phrases. His collaborations with Jack Wilson are timeless.