GA Russell

I have the CD. I never noticed any listing of personnel. It's ensemble, without a solo worth purchasing. I enjoy it. It is on the same CD as the soundtrack of the tv show Mike Hammer, starring Mickey Spillane.

Al Hirt - Honey in the Horn and Sugar Lips Pete Fountain - New Orleans at Midnight Mark Murphy - Rah Dick Morrissey - If's penultimate album

The AP obit appeared in this morning's edition of my local newspaper, the Raleigh News & Observer!!! This is an example of why I am much more confident about my opinions than I was years ago. The belated praise given to someone (or some album) I liked when I was young suggests that I was "right" all along, and that I should trust my own tastes, and not be buffaloed by what the writers and polls say.

Ron, I used to live in York. In 1983 I was a charter season ticket holder of the Philadelphia Stars, with four on the fifty, second row of the upper deck. I have fond memories of that! Of course, the new Philly stadium has a jail for the drunks, but let's consider that just planning ahead!

Quincy is right. I hadn't noticed that the first song is the second track. The liner notes discuss how there was a power outage, causing the taping to cease for a brief period.

My copy is fine. It looks like you need to return yours for another.

I've opened it up today. Let me think about it a couple of days before I make up my mind!

Noj's mentioning Mingus, Mingus... spurred me to add it to my queue. While there, I saw that Joe Henderson's In 'N Out is running low. So I moved it up to #1 on my queue.

I was thinking along the lines of...The National Geographic crew spend their lives in the jungle photographing primitive women who go around topless all day, and for something different they visit Philly and are impressed with the existence of a museum, so they write an article about how great Philly is.

I'm listening now to Count's Jam Band Reunion, which was recorded in late 2000 and came out in '02. Larry Coryell and Steve Smith are on it. It is Steve's last recording that I know of.

RIP, one of my favorites in college. I shook his hand after a Herbie Mann show at the Cellar Door once! I can vouch for Tomorrow Never Knows and Count's Rock Band, both of which had Mike Nock on piano and Larry Coryell on guitar. I think they are both forgotten classics which should be appreciated by all jazz fans.

AK, either you're the biggest McCoy Tyner fan in the world, or you downloaded all those Milestones from eMusic! Whichi is it? Chuck, what is the other Milestone album besides Sahara that you think is so good?

I haven't heard too much of McCoy Tyner's 70s recordings. I'm not sure of precisely when he started and stopped recording for Milestone, but I gather the relationship was for about that decade. In the early 80s I found for a buck each cut out cassette tapes of Together and Inner Voices, and I have enjoyed them, although not often. I also picked up Supertrios about that time. I think the album I have listened to the most over the past year has been Wayne Shorter's JuJu, which has Tyner on it, so I had a positive attitude toward getting Passion Dance when I saw that it would be issued as a new OJC, even though I didn't know anything about it. Passion Dance was recorded live in concert at a Tokyo festival in 1978. It has five songs, three solo piano and two with Ron Carter and Tony Williams. Moment's Notice and The Promise were written by John Coltrane. Passion Dance, Search For Peace and Song of the New World are Tyner originals. They all seem familiar, so I'm guessing that the three originals were released on other Tyner albums. As I recall it was in his autobiography that I read that Miles described McCoy's playing as "banging the hell out of a baby grand piano". He certainly does that here. I opened up the CD on Friday, and the first time I heard it I didn't like it. But over the weekend I have been playing it more, and it has been growing on me. Maybe you have to be in the right mood. Now I like it. I was planning on getting the Tyner Select when it comes out, but now maybe I'll wait a while. A little of this goes a long way. Anybody have any comments on Tyner's 70s playing, and how the OJCs and Milestone reissues may differ from his 60s Blue Note recordings?

I'm saddened. Don Adams was one of my family's favorites, especially my father's, when he was a frequent guest on the Steve Allen Show in the late 50s. I remember one line when he was a defense attorney addressing the jury: "Ladies and Gentlemen of the jury. For the past hour the prosecuting attorney has stood before you and made a complete ass out of himself. Now, it's my turn." I also remember the Tennessee Tuxedo cartoons, which didn't really catch my fancy. During the late 70s I watched Get Smart weeknights on a new UHF station in Pittsburgh which was running a number of old shows. I was struck by something that I hadn't caught when I was a kid watching Get Smart when it was new. The real humor of that show was watching the Chief doing a slow burn. I too went to see The Nude Bomb. But without Ed Platt, it wasn't the same. By the way, Buck Henry wrote the scripts for the first three years. When he left, the show went downhill. First they spent a year engaged, leading up to their marriage. Then they changed networks, a rarity, going from NBC to CBS. Then they spent a year dealing with a baby. As I recall, the show was created by Buck Henry and Mel Brooks. Edit: And also by the way, the saying from the show that I find myself using fairly frequently is "...And loving it!"

Zitro was a major part of the Charles Lloyd Kapp album of 1971 called Moon Man. This was an attempt by Lloyd to capture the white jazz rock crowd. I believe that he was on Lloyd's follow up album Warm Water as well. That album had The Beach Boys on it.

Congrats guys!

Wow! $350 is a lot of money, but it sounds terrific. I hope the famous guys are not too old to do their thing well.

I see that CD Universe has this for only $20.98. That's only $6.99 per disc. The more I listen to this, the more I like it. I find Disc 2 to be more appealling, less dry, than I did before. I'm getting a lot more enjoyment out of this than I ever got out of the Sunday or Debby CDs.

I got The Hummus League.

Circus Peanuts!

FWIW, Sonny's percussionist four years ago at the 9/11 concert was Kimati Dinizulu.

I'm surprised that Edward and Charles have fallen so far down the list. Perhaps the popularity of Brooklyn has something to do with the fact that Posh Spice and her husband Beckham named their daughter that, because she was born, or maybe conceived, there.

You missed all the fun! See this thread: http://www.organissimo.org/forum/index.php?showtopic=21590

I have had this CD for a week, and I would like to comment on it without having read this thread, so as not to prejudice my opinion. By the way, I saw Don Newcomb on TV a while back, and after fifty years he and Sonny still look just like each other! Sonny Rollins has been with Milestone nearly 35 years. That is so long I consider it a career unto itself. Sure, I prefer his Prestige recordings like most people, but the Prestige period ended nearly fifty years ago. I don't see much point in continuing to compare a fellow's work to what he did so long ago. I don't have too many of his Milestone CDs. I have Silver City, Global Warming and This Is What I Do. I think that's all. Silver City was Gary Giddens' idea of Sonny's best over the previous 25 years, and I will trust his judgment on that. I'm of the school that "the great ones make it look easy". I haven't particularly liked the Milestone recordings because to me Sonny sounds like he is trying to blow his lungs out. So I was pleasantly surprised that from the get go on Without a Song (The 9/11 Concert) Sonny is much more relaxed. Not as relaxed as most other horn players, but still a lot more than what he has been doing for the past 35 years. Of the five songs, four are standards, and the fifth is the title track to his then current album Global Warming. I prefer standards, so that is another thing in favor of this album. I saw Sonny in Atlanta about ten years ago. He had Al Foster on drums. Foster was marvelous, equal to the task. Unfortunately, the piano player was dreadful, completely out of his league. The bass player (an upright bass violin, by the way) was better than the piano player, but not very good. I realized how important it is for a major artist to be supported by bandmates who are his caliber. Sonny was on that night, blowing one incredible riff after another, and never repeating himself. But the band as a whole was so poor that it took away a lot of the joy that Sonny earned. On this album, Sonny is not on the way he was that night. However, the band is much better. None of the players is on a par with Sonny, but they are all competent. Drummer Perry Wilson, percussionist Kimati Dinizulu and electric bassist Bob Cranshaw keep it swinging throughout, in an unobtrusive way. Pianist Stephen Scott I'm ambivalent about. I think he does an excellent job comping, but all of his solos disappoint. I like trombonist Clifton Anderson. His comping is fine, and his solos are good but not great. I have listened to this album every day for the past week, and it still is as fresh as the first day. Every track is better than every track on Silver City. The Boston Globe article posted by Tom in RI on another thread was helpful in explaining the origin of this recording. The fidelity isn't very good, but I can accept that. I bought all of my Sonny Milestone CDs from BMG, and I expect that they will carry this album as well. I wouldn't say that this is an album to rush out for, but I would strongly recommend it once it shows up at YourMusic.com. Considering how soon (four days) after 9/11 this was recorded, it is surprisingly fun music.

I suppose everyone here is familiar with the music. I thought that I would put down my thoughts (without reading what has already been posted on this thread, in order to avoid prejudicing my opinions) for the benefit of those who haven't already made up their minds. This is a 3-CD box set whose list price is $29.98. Each CD comes in its own standard jewel case. There is a small booklet with new liner notes by producer Orrin Keepnews. The box was issued in Japan in 2003, and in Europe the following year. The liner notes say that the music has been mastered in analog utilizing the 20-bit K2 Super Coding System. The trio consisted of Bill Evans on piano, Scott LaFaro on bass and Paul Motian on drums. The club's MC pronounces Motian's name as MO-tee-un. I thought it was decided over at AAJ a couple of years ago that it is pronounced MO-shee-un. Maybe Chuck or Chris can set us straight. The recording date was the last day of a two week gig. LaFaro died ten days later. Keepnews in the liner notes says that there was increasing tension between Evans and LaFaro, suggesting that LaFaro may have left the group soon afterward had he lived. The day's work was two afternoon sets and three evening sets. The sets are presented here as they were performed. From the five sets came 22 songs. From the 22, six were selected for the album Sunday at the Village Vanguard, and another six were used for Waltz for Debby. Of the remaining ten songs, all are alternate takes except I Loves You, Porgy. Of the 22, all were issued in the Complete Riverside box except the first take of Gloria's Step, which was interrupted by a power outage. In his liner notes to the OJC Debby, Ira Gitler says that because of his passing, songs which featured LaFaro were selected for Sunday, the first of the two albums issued. I have always preferred Debby, because the Sunday collection is a little too dry for me. I was really looking forward to this box set because I wanted to hear the songs in the order they were recorded, and because my copy of Sunday is an old cassette tape which hasn't sounded good in years. I'm glad I have this box. I find it more enjoyable than either Sunday or Debby. I don't find the inclusion of the alternate takes to be annoying, but listening to three hours of Bill Evans in one sitting is more than I prefer. I expect my favorite over time will be Disc 1, the two afternoon sets. They are a little breezier than the evening sets. Disc 2, with the first and second evening sets, is the most dry of the three discs. There are a few instances of comments between songs. These pauses do not interfere with the enjoyment of the music. They suggest to me that each set should be listened to as a single entity. Even if you already have both Sunday and Debby, I recommend that you consider picking up this box, particularly if you can find a low price such as at YourMusic.com.