Dan Gould

I see your point, Joe, but who does the "rating"? Its the critics, so while the subject might be Jarrett, one critic is taking the rest to task for over-rating him; or, in the case of the "under" rated, saying why don't you people recognize this guy. I think it was the partisans of certain musicians like Jarrett and Ornette who took the greatest umbrage at any suggestion their favorites are "over-rated", not the musicians themselves.

Actually, I enjoyed that cover article and its follow-up letters. While it did give some people an opportunity to mouth off about some guys it also gave some props to people who deserve it. You know, if you remember that its all individual opinion, you ought to be able to accept it for what it is. Not that I'm speaking directly to you, Joe-more in terms of the letters of outrage that people wrote to Jazztimes. I would nominate Keith Jarrett too. Or Thomas Chapin, but only because anyone that Steve Reynolds overpraises couldn't have been that good.

There's one flaw in your theory about McGinley, Mny. He made a much better neighbor to the Bundy's than the first guy. Speaking of sci-fi "classics"-did anyone else see on CNN.com that "V" is coming back, I believe as a Mini-Series?

Brad can give you details but I can tell you that Michael has strongly implied that domestic Sounds are unlikely in the foreseeable future. He's also minimized the likelihood of a full-size Mosaic but he did tell Brad that he "thought he had a solution" to the problem of so many Sounds albums, and he said this shortly before the announcement of the Mosaic Select series. So my guess is that a Mosaic Select is likely, perhaps in two volumes.

So in fact, Ira Sullivan took the gig but only lasted a short while. Another question comes up from Mike's chronology: [bobby Timmons and Walter Davis, Jr. trade off on piano from 1960 into 1961] Was it Timmons' drug/legal problems that made him trade off with Walter Davis, Jr.?

Actually, Mny, I saw at Border's today that the latest batch of Verve reissues-the John Klemmer, Cannonball, Stitt and Billy Mitchell reissues-were all $11.99 or $12.99. I not only signed up, but I believe I also signed up with my parent's address, so I expect to receive two checks. The beauty of the whole case is, those "minimum music prices" were related to price policies of big retailers, a place I never shopped at, then or now. So, basically, I can claim no damages but I am getting double damages Then again, its not like the lawyers deserve their cut either.

Friday, June 20, 9 to 11 pm, its .... Mr. B.B. King! Set your TiVos and VCRs now!!!

I have to find the time to watch the DVD this weekend. I'm pretty sure that the CD issue is simply the music used in the DVD, plus alternates of just about every tune they used.

I think its also just like Aric to think that the precise moment where *he* saw the spot air is somehow critical to the understanding of others.

By George I think he's got it! If you used the "search all this member's posts" function, you'd find this smoking gun, from this morning's posts: "why do you need the pickwick masters? If you get them, you *must* reissue that one "taste of..." knockoff where the cover is a purple background, on which theres a chick in a witches hat, and long, sexy "fuck-me" boots." The only thing missing is a "hell yeah" but the language and the grammar looks spot on. Except for one thing-this post came at 8:30 AM which would be 5:30 on the West Coast. What the heck would Aric be doing up at that hour? Of course, school should be out for the summer so he might have just gotten home. I forget the capacity of youngsters to stay out all night

On a different track, if I recall correctly, James Gavin puts a lot of the weight of Chet Baker's addictions and behavior on Twardzik's overdose.

I don't necessarily agree about the sound quality of LD's Argos. At least on my system, I have not noticed any serious deficiencies. In my opinion, his best Argos-like Musty Rusty and At His Best (which was a Cadet actually)-stack up very well to his best Blue Notes.

The guitarist is Roy Montrell. Have no idea what else he might have been on.

Quick! Someone tell Chuck!!!

The other sax player on Breakthrough is Charles Davis. Sal, my question to you would be, what tenors do make you stand up and go "Wow this guy's a great player"? Hank was famously called "The Middleweight Champion" of the tenor-maybe the fact that he is neither "heavy" like Coltrane" or "light" like Pres and his disciples makes him sound, if I understand your evaluation, mediocre? Hank to me is a terrific composer and a supremely hip player. For what its worth, I do think that the ups and downs of the last 15 years of Hank's life, combined with the critical reappraisal of his playing has given rise to a certain image of the unfairly neglected master. That isn't to say that I don't think he wasn't an unfairly neglected master! Just that there may be at work here a certain "you have to dig Hank!" attitude. You don't have to dig Hank, Sal. But if you have ears and an ounce of soul, you would.

Lou Donaldson - Signifyin' (click here to buy) First, I'd like to say that this "different" AOTW went very well, from my perspective, and I hope we can do it again or that someone else will step up with a similar arrangement. I'll start my review first with a few comments and questions regarding LD's Argo/Cadet years. In my opinion, his output for Argo is uniformly excellent and it is very unfortunate that Universal is sitting on this material. Possum Head, Cole Slaw, Blowing In The Wind, Musty Rusty, At His Best, Rough House Blues are all fine albums, and they document an important period in LD's career, as they span the period between his last Blue Note LP, Natural Soul in 1963 and his return in 1967 for the Sweet Slumber and Mr. Shing a ling sessions. Since these dates include both piano and organ accompaniment, (with long-time LD accompanist Herman Foster) they fit stylistically in with the final recordings of his first Blue Note run, whereas upon his return to Blue Note he began to get more and more into the funk and also to cover more current pop tunes like "Ode to Billy Joe" and "Say it Loud", obviously with an eye toward getting hits. One question I have always had is what led to LD's departure from Blue Note. Was there a falling out with Alfred or did Argo offer more money or what? OK, having set his Argo years in some perspective, on to Signifyin'. As soon as the laser brings the first track to life, you know exactly what you are going to get: A PAR-TAY! With its simple but effective repeated phrase that instantly gets your foot tapping and your head bobbing, "Signifyin" starts the festivities off perfectly. This is good time, happy jazz, the kind that LD has done very well for a long time. The sole ballad is "Time After Time" which features Lou only and is done in a short yet effective performance, but then its right back to the party, with a tune with the "Spanish Tinge" that sticks in my mind the most, "Si Si Safronia"-its got that melodic and rhythmic hook that just doesn't let go. The second side kicks off with a bright-tempoed performance of "Don't Get Around Much Anymore," with Lou's sweet tone stating the classic Ellington melody, and then its back to the originals, with "I Feel it in my Bones" and then "Coppin a Plea" wrapping up the party in a happy uptempo groove. Signifyin' started things off in a fine way for LD's Argo period. Nevertheless, it is not my favorite. That would probably be Musty Rusty which features Grant Green or At His Best which features what may be Lou's first recorded vocal, on a tune he's performed regularly since, "Wig Blues". I selected Signifyin' because I suspected that the presence of Tommy Turrentine and Big John Patton would appeal to a lot of people here.

Yes, indeed, Jim, that is how it should work. You better do some nominating quick so that person can get moving!

I thought that was you, Marcus. I guess there's no chance you'd sell it back to me, huh?

You might want to consult This Site before casting your ballot.

Interesting. Has he told you how Blakey responded to be turned down not once but twice?

Couldn't find a thread, and this seemed as appropriate a forum as any, so, without any further ado, my latest: I had to go halfway around the world but I found a nice copy of Johnny Griffith Trio, Jazz, on the Workshop Jazz label. Griffith was the pianist in the Motown house band who died just before the Standing in the Shadows of Motown doc premiered, but he always considered himself a jazz man. So, I went searching and just got it yesterday from a Japanese dealer. Its pretty nice, with a cover of "Moment's Notice", a couple of standards, some bluesy originals, plus "Willow Weap for Me" and "Summertime".

I have a Japanese LP of New York Jazz, a nice one for sure. The Billy Mitchell is definitely recommended and I hadn't realized til I read it here that the Cannonball hasn't been reissued before, so that's a must-get for me. From what I've learned about Klemmer's career, it sounds like this first release has the best chance to click with me, but its definitely falling behind the others on the totem poll. I need to check the CDRs and LPs I have and make a decision whether a clean and newly digitalized copy is necessary on the Stitt and Mitchell.

Another interesting one would have been Tough Young Tenors which featured Blanding, Herb Harris, Todd Williams, James Carter joining a Marcus Roberts-led rhythm section. I think everyone had a solo feature and was paired off with someone else on a second tune and then there was a round-robin jam at the end. Kind of a mixed bag-probably some here would find it too Wynton-dominated (even though he's nowhere in sight, almost all of the players were "Wyntonites" at the time) but its got some good tunes and nice blowing. Carter does a nice job on Chelsea Bridge.

An impossible choice but I went with KD (that is until I foolishly clicked on the "null vote" button instead of the "vote" button

Thanks Leanne. I wonder if Pine was the first ...