MartyJazz

Chocolate biscotti and a cup of Earl Grey tea.

In what way? Musically, artistic temperament (Nina was known to be somewhat difficult at times)? CW seems a lot more flexible in terms of her willingness to work in a variety of settings. Overall, I do prefer Cassandra.

Vodka and valium. I'll have a V&V, waiter! -_-

While I don't have this set, I believe it also includes CAT WALK which is a very difficult find on individual CD (unless you're willing to pay for a high priced Japanese mini-LP). I have a Japanese vinyl copy and the music is excellent.

March 27th. Recorded on this date: 1944, Lester Young with Bill Coleman, Dickie Wells, Joe Bushkin, John Simmons & Jo Jones for Commodore: "Three Little Words", "Jo Jo", "I Got Rhythm", "Four O'Clock Drag". 1955, Hank Mobley debuts for Blue Note with Horace Silver, Doug Watkins & Art Blakey recording: Hank's Prank", "My Sin", "Avila and Tequila", "Walkin' the Fence", "Love for Sale", "Just Coolin'".

This 2 disc sampler is on my "sale" shelf. It was "acquired", not bought, and as such, I've not paid any attention to it as I generally dislike compilations. I say this only because I don't know anything about this set other than what the liners tell me and that is precious little. No personnel and dates are given for any of the tracks other than the tune titles and the leaders of the date. What is given however, are the matrix #s of the albums from which each cut is taken. If that's of help to you, let me know.

After I googled TDK Mediactive, it led me to this site that indicated (once you click on "catalogue" and scroll down to the jazz section) that there are two Shepp DVD dates from '77 as well as a Cedar Walton Quartet1976 Umbria JF appearance featuring George Coleman! Would love to have these DVDs.

March 26th. Recorded on this date: 1958, John Coltrane 4 with Red Garland, Paul Chambers & Art Taylor record for Prestige: "Rise 'n Shine", "I See Your Face Before Me", "If There is Someone Lovelier Than You", "Little Melonae", "By the Numbers". 1959, John Coltrane with Cedar Walton, Paul Chambers & Lex Humphries record for Atlantic three alternate versions of: "Giant Steps", "Naima", "Like Sonny". 1961, Hank Mobley 5 with Wynton Kelly, Grant Green, Paul Chambers & Philly Joe Jones - WORKOUT (Blue Note): 1962, Carmell Jones group wit Tricky Lofton, Wayne Henderson, Bob Edmondson, Frank Strong, Kenny Shroyer, Frank Strazzeri, Leroy Vinnegar & Ron Jefferson record Gerald Wilson arrangements for Pacific Jazz: "Brass Bag", "Angel Eyes", "Celery Stalks at Midnight", "Mood Indigo", "Moten Swing". 1990, David Murray 4 with McCoy Tyner, Fred Hopkins & Elvin Jones - SPECIAL QUARTET (Columbia): 1991, Joe Henderson Trio with Rufus Reid & Al Foster - THE STANDARD JOE (Red): 2001, Roy Haynes 5 with Roy Hargrove, Kenny Garrett, Dave Kikoski, & Dave Holland - BIRDS OF A FEATHER: A TRIBUTE TO CHARLIE PARKER (completed 3/27, Dreyfus):

March 25th. Also recorded on this date: 1965, Ted Curson 5 with Bill Barron, Georges Arvanitas, Herb Bushler & Dick Berk - THE NEW THING AND THE BLUE THING (completed 3/27, Atlantic): 1993, John McLaughlin & Aighetta Quartet (4 guitars) & Yan Maresz - TIME REMEMBERED: PLAYS BILL EVANS (completed 3/28, Verve):

That '46 date I found on a 10 inch CLEAN lp that was donated to my local library. One of my better 25 cent purchases.

Well, he definitely dug Bud.

According to my very old copy of PRESTIGE JAZZ RECORDS 1949-1971: a discography by Michel Ruppoli, the session you mention is the 1st listed. Recorded in NY on January 11, 1949, it is credited to the Lennie Tristano Quintet. Hope that helps.

March 24th. Recorded on this date: 1952, Jam session featuring Wardell Gray, Chet Baker, Sonny Criss, Dave Pell perform at the "Trade Winds', Inglewood, CA: "Out of Nowhere". 1957, Lee Morgan 6 with Gigi Gryce, Benny Golson, Wynton Kelly, Paul Chambers & Charlie Persip - LEE MORGAN, VOL. 3 (Blue Note): 1960, Miles Davis Quintet with John Coltrane, Wynton Kelly, Paul Chambers & Jimmy Cobb perform in Copenhagen: "So What", "On Green Dolphin Street", "All Blues". 1967, Jackie McLean 5 with Ornette Coleman (tp); Lamont Johnson, Scott Holt & Billy Higgins - NEW & OLD GOSPEL (Blue Note):

PM'd you.

I am one of those who was never moved by his playing. There have been pianists who have also had flash and technique to spare together with an undefinable feeling that the word "soul" insufficiently conveys, e.g. for me, Bud, Phineas, Tete, earlier McCoy,..... but O.P., no. I've spoken to many jazz fans over the years, many of whom agree and of course, many who do not.

I got a last second invitation from a friend to see this trio last night at the Harriet Himmel Theater at City Place in West Palm Beach. Charlap was accompanied by the "brothers" Washington, i.e., Peter & Kenny. Group swung throughout two sets. My only complaint, which was certainly not shared by the overwhelming majority of the audience who lapped it all up, is that apart from the opening George Wallinton original, "Godchild", every piece thereafter was a pop standard. I mean EVERY piece, loads of Berlin, Rodgers & Hart, Porter, Gershwin, and topped off by a Bernstein West Side Story medley. Look, I love the American popular songbook, but is there any harm in throwing in a couple of jazz standards here and there? (BTW, has Charlap penned any originals?) In any event, it was an expertly done performance that was well appreciated by the audience, many of whom attended free as a result of membership in the Jazz & Arts Music Society (JAMS) of Palm Beach county. Bottom line, I'm glad I went.

Well, Urtreger is a musician who played with Miles when the latter toured Europe in late '56. As such, he would be expected to dig what he was hearing, and if not, he would not hiss or boo (nor would any other musician for that matter). I refuse to make excuses for the Parisian audience at that time. We all expect to hear some of what we're accustomed to when we come to a music concert, but the serious jazz fan expects to be challenged, particularly by younger musicians as Coltrane certainly was at that time. To boo a serious musician is unforgivable to my way of thinking. A case in point. At the tender age of 21, I saw Coltrane at the Village Vanguard in December 1966. My only Trane records at the time, were STARDUST (Prestige) and COLTRANE'S SOUND (Atlantic). That's what I expected to hear. I don't have to tell anyone here that when Pharoah, Alice, Jimmy and Rashied came on stage alongside Trane, I heard something entirely different and, to this day, it remains music that is still quite alien to me. Yet I certainly did not boo, nor did anyone else in the audience that night, although quite a few did walk out. At the very least, when one knows that the person on stage is an artist (based on past performances, recordings, etc.), he or she deserves respect.

Paris is great, but what is truly disconcerting on that recording is the fact that so many of the Parisians in attendance were not ready nor receptive to what Coltrane was doing. As a result the listener has to put up with very audible hissing and catcalls emanating from the jazz conservatives in the audience. The Stockholm concert, OTOH, has better fidelity and nothing in the way of adversarial "competition" from the audience. As such, the Stockholm is a much more comfortable and better listening experience, IMO. On an another note, I recall reading an interview of Branford Marsalis many years ago, when he was still musical director for Leno and had achieved name recognition among jazz fans and the public at large. I'm paraphrasing here but the gist is that when the interviewer asked BM whether he felt "satisfied" at this point in his career, Marsalis replied, "Have you ever heard Coltrane with Miles in Stockholm"? I thought that was a marvelous way of saying that, on a purely musical basis, he (Marsalis) still had much to look up to.

I saw him perform with Roy Haynes' BIRDS OF A FEATHER band in Fort Lauderdale a couple of years ago and thought he was terrific although the audience seemed to be more partial towards the other horn on the front line, Nicholas Payton. Highlight of the evening was a duet between KG and Haynes on "Star Eyes". I also very much like TRIOLOGY and PURSUANCE, both of btw have very excellent and different versions of "Giant Steps". A year or so ago I picked up a CD, can't recall the title, but it was too much "smooth" for my tastes. Hope he never does that again.

March 23rd. Recorded on this date: 1960, Sonny Clark Trio with George Duvivier & Max Roach record session for Time Records, currently on a Bainbridge CD: 1982, Joe Farrell, Art Pepper, George Cables, Tony Dumas & John Dentz record two albums of material, much of which is now available on a Drive Archive CD titled DARN THAT DREAM: 1990, Don Pullen Trio with James Genus & Lewis Nash - RANDOM THOUGHTS (Blue Note): 1994, Geri Allen Trio with Ron Carter & Tony Williams - TWENTY ONE (completed on 3/24, BLue Note):

March 22nd. Recorded on this date: 1944, Lester Young with Buck Clayton, Dickie Wells, Count Basie, Freddie Green, Rodney Richardson & Jo Jones record for Keynote: "After Theater Jump", "Six Cats and a Prince", "Lester Leaps Again", "Destination K.C.". 1956, Sonny Rollins with Clifford Brown, Richie Powell, George Morrow & Max Roach record PLUS FOUR (Prestige): 1957, All Star Group of John Coltrane, Idrees Sulieman, Webster Young, Bobby Jaspar, Mal Waldron, Kenny Burrell, Paul Chambers & Art Taylor record INTERPLAY FOR 2 TRUMPETS & 2 TENORS (Prestige): 1960, Jimmy Smith with Blue Mitchell, Jackie McLean, Ike Quebec, Quentin Warren & Donald Bailey record (Blue Note): "Open House", "Old Folks", "Sista Rebecca", "Embraceable You", "Big Fat Mama", "My One and Only Love", "Plain Talk", "Time After Time". (released on OPEN HOUSE & PLAIN TALK, originally two LPs, now one CD) 1960, Miles Davis Quintet with John Coltrane, Wynton Kelly, Paul Chambers & Jimmy Cobb perform a two set concert in Stockholm (Dragon): "So What" (two versions), "On Green Dolphin Street", "All Blues", "Fran Dance", "Walkin'", "The Theme" (twice). 1961, Ornette Coleman Quartet with Don Cherry, Jimmy Garrison & Ed Blackwell record ORNETTE ON TENOR

So when's the sign-up? The feedback on the two BFT 24 discs is more or less complete at this point.

We've all read stories about how difficult it was to work for Goodman. And don't get me wrong, I enjoy reading such stories. However, I wonder in this case if your speculation is baseless concerning a possible negative influence of Goodman on Hammond. The reason being, many musicians aligned with Goodman were able to get their own dates while still being members of his organization. Two examples that come readily to mind are Lionel Hampton and Teddy Wilson, the only black participants in his various combos (if not the full band) prior to Christian's arrival. Why would BG exercise "pull" when it came to Christian, but not the others? And indeed if he did do so, what would be the motivation?

March 21st. Recorded on this date: 1957, Henry 'Red' Allen & all star group featuring Coleman Hawkins, J.C. Higginbotham, Buster Bailey et al record: WORLD ON A STRING (through 4/10/57, RCA Victor). 1960, Miles Davis Quintet with John Coltrane, Wynton Kelly, Paul Chambers & Jimmy Cobb perform at "L'Olympia", Paris (Trema): "All of You", "So What", "On Green Dolphin Street", "Walkin'", "Bye Bye Blackbird", "'Round Midnight", "Oleo", "The Theme".

March 20th. Recorded on this date: 1) 1939, Rex Stewart & his 52nd Street Stompers featuring Tricky Sam Nanton, Barney Bigard, Duke Ellington record: "I'll Come Back for More", "Fat Stuff Serenade" (released on ELLINGTON SMALL GROUPS, Vol. 2 - Columbia). 2) 1946, Lester Young with the Nat Cole Trio & Buddy Rich: "These Foolish Things", "Lester Leaps In" (released on PREZ CONFERENCES - Jass). 3) 1950, Oscar Pettiford with Don Byas & Kenny Clarke perform: "BLues It", "Indiana", "Cello for Cello Twins" (released on UNRELEASED RADIO TAPES - Delta (Ger)). 4) 1961, Miles Davis with John Coltrane, Hank Mobley, Wynton Kelly, Paul Chambers & Jimmy Cobb record: "Someday My Prince Will Come", "Teo" (through 3/21, Columbia). 5) 1961, Dave Brubeck with Bill Smith - NEAR-MYTH (Fantasy):