MartyJazz

Yeah, I have both of those Kenny Cox LPs that feature Joe Henderson's younger brother, Leon. Both are in a late '60s Miles vein and are very good. I wouldn't hold out much hope for them ever appearing on CD however - the personnel consists of complete unknowns. Elvin's "Genesis" is another fine LP. The Andrew Hill that I'd love to see re-issued on CD is "Andrew!!!" , a great session with Hutcherson and Gilmore.

Perhaps as the rhythm section is not of the "classic" Blue Note variety (with the exception of Art Taylor), I nominate this Dizzy Reece session as one that is overlooked: Some great Tubby Hayes on this one as well as the added, somewhat superfluous, presence of Donald Byrd. The title track is a real cooker!

As one who pleads guilty to using the word "soul" in previous notes to this thread (and I like Eric Alexander, BTW), I never mean it in a black-white context. To me "soul" simply connotes an honest feeling that is so palpable, it is pleasurably conveyed in the playing (be it blues, ballad or just straight ahead playing) of whoever I'm ascribing that quality to. Words are unfortunately inadequate to describe what I mean, but definitely race has nothing to do with it. For example, when it comes to alto playing, for my taste, Frank Strozier has more "soul" than does Bobby Watson, Jackie McLean more so than does Phil Woods, etc.

Let me tell you a story you may find funny concerning this album. Back in '71, I was working at a record store specializing in jazz in Greenwich Village. Booker had passed away the previous year. Anyway, a Caucasian woman (reference to race will be appreciated later) walks into the store and asks for this album, the only one Booker ever recorded for Blue Note. I'm a hot shot "jazz expert" and not fully appreciating this album at that time, I try to turn her on to a couple of Booker's Prestige LPs (e.g., "Heavy", etc.) that I felt were superior. After patiently listening to me extol the virtues of various Booker LPs other than the one she came in for, she tells me that she is Booker's widow and that she really wanted this one as she did not yet own it. I've stuck my foot in my mouth plenty of times but that's one occasion I remember doing so quite vividly. I mean, looking at her how was I to naturally expect that she had been married to him? (BTW, she may have been the "Tyra" that's the title of the last track on that album). Needless to say I have the album (on LP only).

Well, as one who joined Organissimo somewhat recently, I have received BFTs 7 through 11 and have partaken in all the discussion threads. However, let me here express my thanks to Mssrs. Man with a Golden Arm, Jim Dye, Alexander, rockefeller center and RDK for affording me challenging, enlightening and interesting hours of listening. (I wish my turn was sooner than #41 as I'd love to reciprocate ASAP).

Thanks for responding. You evidently created quite a firestorm here which I guess is the order of the day in today's world. No, I've never had difficulty telling Pres and Vice Pres apart, but I always thought it was ironic that when Pres complained of everyone trying to sound like him, the one that most emulated him (Quinichette) escaped criticism. Rather he was, as you say, referred affectionately as "Lady Q" by the master himself. In fact, Getz as the most successful pupil of the Pres attack, bore the brunt of Pres's criticism (in the critical opinion of that day) yet IMO Getz was then and increasingly became even more so, a highly original player. Where does all this lead? Well, I'm always reminded of a conversation I had with Sam Rivers back around '76 when he said about the state of jazz, "it's all been done". Most of us cherish our Bird, Trane, Rollins, Blue Notes, etc., for very good reasons which I won't bother to state. But, as we live in the here and now, we continually search for the contemporary player who strikes a chord. Finding the player who reflects the spirit of the times we live in and who does so, in an aesthetically pleasing way, is what I find most challenging.

I very much enjoyed the above 1982 response to McDonough. You raise points however that I have always found troublesome when evaluating musicians that I tend to gravitate to or to shy away from. The question of emulation has a time component, in my view. While I love Pres, Hawk and Ben, I generally cannot bear to listen to Scott Hamilton who has synthesized aspects of all three in his playing. Now, what is one to make of a musician who appeared many more years ago than Hamilton such as Paul Quinichette? Here's a musician whom I've never seen criticized in print. He was on lots of excellent dates, yet he wasn't called the "Vice Pres" for nothing - his playing is a complete theft, in my view, of Lester Young's style. How about Barry Harris? I have several dates of his I absolutely love, e.g., LUMINESCENCE, BULLSYE, etc., yet can anyone discern the kernel that is Barry from the stalk that is Bud Powell? I think Quinichette and Harris escape criticism because they appeared in the immediate aftermath of their idols and while the latter were still alive. Likewise, Oscar Peterson is considered a giant (I've never dug him, but that's my taste) yet does he ever begin where Art Tatum (whom I do dig) left off? You denigrate a few musicians (David Murray, Lew Tabackin) who obviously have been influenced by masters, but who I believe, have developed a sound that is recognizably their own. More importantly, in my view, they have added in some measure to this music we love. (Similarly, I can hear all the Aylerisms in the playing of the late George Adams, but I enjoyed the Adams-Pullen quartet immensely when they were gracing the scene in the '80s). Among contemporary musicians, it's obvious that Dizzy has greatly influenced Jon Faddis (who does nothing for me) and that Rollins and Dolphy have been great influences on Bennie Wallace (who does alot for me). So where does all this leave a musician like Eric Alexander? Yeah, it's obvious that Dexter and George Coleman have been profound influences on him. The bottom line for me however has always been, does this guy (or gal) cook and/or does he or she have that nebulous quality called soul? If in my view, the answer is affirmative, then I'm a fan. Consequently, I dig Alexander.

Granted, it's not what you'd expect to hear from any woman (at least, I've never been that lucky), but what makes it "work" in the context of the film is Harrison Ford's take in response to it. Funny and it points to why Ford was very good box office for a considerable period of time.

Discs just arrived today and have listened to the first one. I'm afraid that I can't add much to what's been stated already except that, since I do own the CD from which the vocal on track #13 appears, it can be found here (track #2).

Since you already "hijacked" the thread, just want to say that on a visit to NYC last November for a family affair, I got to see Michael and a septet perform at the Brooklyn Conservatory of Music. The group performed every tune from the recent album you cite, Dan, as well as a few from the previous date with Eric Alexander. Ryan Kisor was present from the Sintra CD, however Adam Kolker (ts) and Jim Snidero (as) replaced the 2 Steves on the CD, Wilson and Davis. Group really cooked!

I second that. Everytime I listen to this album, I turn up the volume. It's probably the only CD that makes me do that. By far, it is my favorite Blakey album! I feel that way about anything from Blakey's MOSAIC, especially, "Arabia", "Children of the Night" (Blue Note). Charles Mingus: "Moanin'", "Tensions" from BLUES & ROOTS (Atlantic) Sonny Rollins: "Street Runner With Child" from ALFIE soundtrack (Impulse) "Three Little Words" from ON IMPULSE (Impulse) John Coltrane: "Blues Minor" from AFRICA/BRASS (Impulse) Grachan Moncur: "The Coaster" from EVOLUTION (Blue Note) Countless more, I'll stop now.

Last night, I'm using the remote going up and down the TV "dial" when I come upon a film "Working Girl" that I saw when it originally appeared circa 1988. Anyone else notice that when Melanie Griffith first encounters Harrison Ford at the bar, the soundtrack consists of Sonny Rollins and J.J. Johnson's rendition of "Poor Butterfly"? I probably noticed it when I first saw the film - my ears always perk up when it's Sonny - but evidently I had forgotten that pleasurable moment.

I came to this thread late however since the rhythm section listed on the previous thread was cut off, I thought I'd read it off from my Fresh Sound CD (FSR-CD 44) that I've had since the late '80s. Red Richards (p), Al Casey (g), Bill Demberton (bass). Jimmy Crawford (d). Incidentally, my CD issue states that it's from Barcelona, Spain. Anyone know why Fresh Sound alternately lists Switzerland and Spain as the countries of origin?

The pianist Michael Weiss is a good friend of mine, we having met when we resided in the same apartment building in Park Slope, Brooklyn, some 20+ years ago. Although Michael has been a sideman with some great musicians over the years, e.g., Johnny Griffin, Lou Donaldson, Art Farmer, to this date he has been the leader on just four sessions. As Michael has a website and has always informed me when one of his rare dates is being issued, he turned me on to Eric Alexander especially as the latter appears on Michael's 3rd CD: It's a terrific album, a quartet session, which according to Michael's website can be obtained from Amazon and Cadence. Check out Michael's website here.

Nathan Davis: THE RULES OF FREEDOM (Polydor). Terrific quartet side from the late '60s with Hawes, Garrison and A.T.

Being a Newk nut, I had to go with Basin Street, although all the albums mentioned are essential in my view. Don't know why there are those who think that Land is a more "suitable" front line mate. There are numerous occasions where Newk begins a solo quoting where Brownie left off and vice versa. As far as I'm concerned, the replacement of Land by Rollins puts this band on the same high level in the '50s as the Miles Davis Quintet with Coltrane. "What is This Thing Called Love", "Gertrude's Bounce", etc. - this is what jazz is all about.

I agree - I cut it loose sometime ago myself. The best Bradford IMO consist of the four LPs he did with John Carter on the Revelation (SEEKING and SECRETS) and Flying Dutchman (FLIGHT FOR FOUR and SELF DETERMINATION MUSIC) labels from 1969 to 1972. Wish that they would be released in their entirety (not like the abridged WEST COAST HOT cd of a few years ago) on CD since I rarely play my LPs these days. Got to see Carter and Bradford perform at the Soundscape Loft in Manhattan back in '79. A treat!

Who are you and how do you know about CD Collector? You better stay away from there if you know what's good for you!!! I've been going to that one (Sean Kayes, owner - terrific guy) and the more northern CD Collector location west of the Intercoastal on Atlantic Blvd, for quite a few years now. So there's a bit of competition for the wonderfully priced 2nd hand jazz CDs down here, Dan.

The Carter/Bradford material included in the above CD were taken from various sessions which were originally issued on two Flying Dutchman LPs which I've had since they were issued, FLIGHT FOR FOUR and SELF-DETERMINATION MUSIC. They are both quite excellent. It's a shame that they haven't been re-issued in their entirety (to my knowledge) on CD.

Glad I missed that program. But your note prompted a remembrance of a biology professor I had many years ago - we're talking circa 1961-62. This professor absolutely despised Harry Reasoner. He didn't miss an opportunity to lampoon him, cracking us up every time he did it. It's good to see that his opinion many years later remains fully justified. In a similar vein, it's rare that I haven't cringed whenever I've seen a major jazz artist interviewed on TV. Unless the interviewer is familiar with jazz, it almost always comes off as either insufferably ignorant or worse, patronizing. If you want to appreciate some great music along with wonderful interviews, I highly recommend the "Jazz Casual" video series, some (or perhaps all) of which are now available on DVD. I have 14 VHS tapes of this terrific early and mid '60s TV series that was hosted by Ralph Gleason, a noted jazz columnist and author at that time. Great stuff!

Rudolph Johnson!!???????? Who the hell is Rudolph Johnson? Wonder what happened to him. Well, I'm glad that it wasn't a tenor I should have recognized. Kirk Lightsey however is someone I've liked a long time. Saw him at Bradley's in NY quite a few times during the late '70s-early '80s. Nice work.

Yikes, a '73 release date which could mean an earlier (in years) recording date. I'm really at a loss. Who was playing in that vein in the early '70s? Carter Jefferson, Bennie Maupin, Billy Harper? I give up.

Searched that way days ago and came empty-handed. Nada! Doesn't sound remotely like Joe Henderson. The track certainly is a stumper. The tenor sounds to me like someone who came later, late '70s or after perhaps and who generally might be found in more "out" settings, e.g., David Murray, Chico Freeman. But I don't think it's either player. Pianist has me stumped also. If this turns out to be in my collection, I'm really gonna be pissed!

Thanks very much, alejo and brownie. Very helpful!

Picked up a few sealed Bethlehem CDs at the local mall for the ridiculous bargain price of 3 for $5. Anyway, I could use some personnel and/or date info for the following sessions: 1) Teddy Charles: SALUTE TO HAMP. Although the personnel is stated on the front cover, no date(s) is (are) given. 2) Carmen McRae: CARMEN McRAE. Jacket mentions Mat Mathew Quartet and Tony Scott Quartet but no personnel and dates are given for these studio sessions. 3) Charles Persip:.......AND THE JAZZ STATESMEN. Again personnel is mentioned on the front and back but no date given. 4) Joe Roland: VIBE PLAYERS OF BETHLEHEM, VOL. 2. No personnel, no date(s). Info on any or all of the above would be appreciated.