MartyJazz

I have it on a Japanese Philips (822 897-2) that was issued in '86 with an additional track.

As my avatar indicates I'm a big Newk nut. But concerning J.J., I once had the pleasure of running into him (1976) on a boat to Catalina Island. He looked very much the tourist with a camera around his neck. Recognizing him, we got into a great conversation....he pegged me as being from New York immediately. I told him that my favorite stuff of his was on two dates where he was a sideman, the aforementioned Rollins, Vol. 2 and Horace Silver's Cape Verdean Blues. He agreed that those albums contained some of his best work. Back to Rollins, Vol. 2 is a killer and certainly my favorite of the Blue Note recordings. Nobody has yet mentioned the terrific version of "You Stepped Out of a Dream". It's rare to hear cooking like that anymore.

It is indeed a great album, but I tend to favor the non-Clark Terry cuts, i.e., "You for Me", "Soon" and in particular, "Airegin" all of which feature extended tenor solos. His playing certainly doesn't "wear" on these ears.

I second your recommendations but in particular the first two (DOWN IN THE VILLAGE and LATE SPOT AT SCOTT'S which I have on the Redial label) which were recorded during the same week of May '62. They are truly fantastic recordings. Everyone's on fire and the trumpeter in particular, Jimmy Deuchar, was quite a revelation to me when I first obtained these discs. Very evocative of Kenny Dorham with technique to spare. And Hayes is superb throughout, certainly on tenor and soprano, but on vibes (!) as well. He was truly a giant of a jazz musician. Hayes' comments and humor between tracks are also a plus. Very highly recommended.

The Columbia LP MISTERIOSO (recorded on tour) was reissued in its totality (no additional tracks) on Columbia 468406 2. The CD label itself says "made in Austria" . The back insert states "printed in Holland/distribue en France par Sony Music". I found it 2nd hand so I wouldn't know how you would go about acquiring it.

Perhaps because I've grown so familiar with their compositions over the years, I would add: Kenny Dorham Benny Golson Gigi Gryce Andrew Hill

This is doubly embarrassing for me because I bought the LP when it first came out (around '79) and the CD at a bargain price a couple of years ago!

I saw Dexter Gordon at the Village Vanguard on several occasions in the mid '70s. Terrific stage presence. As you indicate, he would very methodically recite the lyrics to a ballad just prior to playing it, in particular I recall he doing so with "You've Changed" and "Polka Dots and Moonbeams". He also did a gesture that was very hip and does not come across on live recordings except if you have a video or DVD, namely, he would extend the saxophone horizontally with both hands towards the audience as they were clapping at the end of piece, as if to say, "here is where the music is coming from, I'm simply the messenger". He was also very funny. I was fortunate to see him invite Sonny Stitt from the audience to come up to the stage and jam with him - the tune was McShann's "The Jumping Blues" - and he did so by saying that he would like to bring up "an old........a VERY old, friend". I didn't realize how much I valued those experiences until I saw this thread. Thanks.

Gioia is an excellent writer whose informative analysis of jazz artists is enhanced by the fact that he also happens to be a musician. I also liked his WEST COAST JAZZ but would particulary like to recommend what I believe was his first book, a relatively short one about the uniqueness of jazz as an art form, titled THE IMPERFECT ART. Really excellent and thought provoking

Sorry. I didn't realize that an album titled THE TENOR OF BILL BARRON, would have more than one tenor on it. Obviously, that side is not one of the 3 Barron LPs I do have.

Why is this in an Ervin thread?

Wow. Everybody has their own method. I could never see doing it strictly alphabetically because then you would have the Art Ensemble right next to Armstrong, too strange a juxtaposition for my taste. I don't like doing it by label because I think the artist should take precedence over whatever label he may have recorded on at any one time. My solution demands that whoever is viewing my collection has to have a grounding in jazz history. Consequently, I order them stylistically, e.g., New Orleans, Chicago, Swing, Bop, Hard Bop, Avant Garde, etc. Within these categories, there are artists that have entire sections devoted to them, e.g., Ellington, Basie, Parker, Monk, etc. All the giants and those who have made many recordings each have a cardboard 13" by 12" tab with their name dynotaped so as to more easily spot their section. Each musical style has various subsections, e.g., swing trumpet that houses recordings by Henry Red Allen, Buck Clayton, Roy Eldridge, etc. While on the whole, it's satisfactory for me, I admit that once in a while, I have difficulty locating a particular recording especially if the artist has traversed over quite a few styles in his career, e.g., Steve Lacy.

Damn! Thanks again for turning me on to one of my LPs. I've been primarily listening to CDs for so many years now, I forget what's on my LP shelves.

While I do not own the CD under discussion, I expect to get it evenually as I do own a prior recording of Konitz with Solal in a quartet setting (with NHOP and Daniel Humair) which is excellent. That CD, is titled JAZZ A JUAN (i.e., Antibes Juan-les-Pins, July '74) released by Steeplechase (SCCD-31072).

The pianist on that 'I Can't Get Started' is Sonny Clark. He may not be mentioned but the piano player on that one is Sonny. Hampton Hawes played on the rest of the session.

I was fortunate back in the late '60s through the early '70s to regularly go the Village Vanguard on a Monday night to check out this band. At the time, I always looked forward to hear Pepper Adams, Billy Harper and Thad himself solo and one of the great added features was to see a very young, fresh-faced Dee Dee Bridgewater sing with the band. She was not anywhere near as polished and technically assured as she is now, but she was absolutely wonderful. Thad was a great m.c. as well as arranger, trumpet master. Ah, memories...... Funny that I don't own one CD of this band, but I do have quite a few LPs that I bought back then.

The RCA box set is definitely missing, and understandably so, the first session made by the Desmond-Hall quartet which was originally issued by Warner Brothers. The CD of that recording has been issued by Discovery under the title EAST OF THE SUN. Great versions of standards, e.g., "I Get a Kick Out of You" as well as a version of "2 Degrees East, 3 Degrees West".

As is obvious by my avatar, Rollins is among my very favorites, especially his work from the '50s through the '60s. Love THE BRIDGE, especially the title tune and "John S." in which both Newk and Hall swing and interact terrifically. Got to see them at a reunion, can't remember whether it was Carnegie Hall or Lincoln Center back in '91 in which they reprised some of those tunes, including "Without a Song". I can highly recommend from the same period Hall's work with Paul Desmond in a quartet setting on one session made for Warner Brothers and quite a few for RCA Victor. I believe all of it was issued on a Mosaic box, while the Victor material only was issued by RCA. One cut that has always knocked me out is their version of "Alone Together" which was originally on the RCA TAKE TEN lp. Really cooks.

Scoring a great set and scoring the same day/night are not mutually exclusive.

he he I once burned a cd with a dozen or so different versions of Tenderly, and I still never got sick of the tune. I don't have the same enthusiasm for Take Five, but it still could be cool.

Jim! First of all, congratulations on the birth of your newborn. Was surprised to see that discussion has already started. I need to listen more, but I feel confident at least that track 7 features Yusef Lateef and possibly Richard Williams on trumpet. I'll second Randy's feeling that track 3 features Larry Young but I know the cuts are not from either Unity or Into Something as I'm quite familiar with those sides. Obviously have to do more listening.

The HAPPY GIRL session is terrific and really points to how wonderful and underrated a tenor player Nathan Davis was back in that period. Got my copy at Border's for regular retail price some years ago and then I spotted one at a 2nd hand shop for $8. Copped it for my brother - the SOB doesn't appreciate it as much as I do! Regardless, well worth getting.

I've had that BYG double LP for many years and I find that it's my favorite Wes recording. Really swinging throughout.....a great live set.

Back around '73 or so, I lived in Brooklyn Heights and Henderson was just a block and a half away. This was just before he moved to San Francisco. Anyway, at that time I was living with a great young Italian woman who also happened to be a marvelous cook. So when I spotted Joe on the street one day, I introduced myself and within a couple of minutes I invited him for dinner. He came a couple of nights later and, as would be expected, it was a marvelous and memorable evening listening to him comment on musicians and his own recordings in particular. To get to the point, I put on the LP of Joe in Japan and I recall him stating that he too thought that it was a great recording and that he had been surprised at how terrific that Japanese rhythm section was. Certainly for my taste, the version of "Blue Bossa" on that record surpasses the many that Joe did either as a leader or sideman, and is my favorite version of that KD tune of all I've ever heard.

There is an excellent biodiscography on Shaw written by Vladimir Simosko. Information about the book can be obtained here: http://www.scarecrowpress.com/Catalog/Sing...data=0810833972