Pete C

No contest for me. McLean's Blue Note output from 1963-65 is among the best, most profound jazz ever recorded.

Cheesus! Aldo Romano William Colby Herman Munster

Happy Birthday Chris. The first time I saw your name I was about 14--I had bought some of those 2-LP sets of Bessie Smith with liner notes based on your book.

I like it!

Khan Jamal Ahmad Jamal Jorge Amado

The Black Lion release of Blues for Bouffemont I have on disc has the studio session we both like, followed by another session (live?) with a different rhythm section from about the same time. Here's the track listing from the Black Lion CD: In The Mood For A Classic - 5.44 Like Someone I Love - 6.52 Una Noche Con Francis - 3.30 Relaxin' At Camarillo - 4.14 Moose The Mooche - 3.40 Blues For Bouffemont - 5.42 Little Willie Leaps - 4.04 My Old Flame - 4.17 I Know That You Know - 3.53 Star Eyes - 6.16 There Will Never Be Another You - 3.53 The last 3 tracks are from this session, just the trio w/o Griffin: Johnny Griffin (ts -5/9,14,15) Bud Powell (p) Guy Hayat (b) Jacques Gervais (d) "Hotel-Restaurant La Belle Escale", Edenville, France, August 8-14, 1964 That's the Edenville session that ccex is rightly horrified by.

They've just tightened internet access at my office, so now I can't see some images that others can see. I'm pretty sure the rateyourmusic issue is global, but now I can't see images from allmusic, so I guess I'll just have to wait for visible images... Funny, the filter knows to block jazzcorner, but not organissimo...

One for the pantheon of arrangers. But half the time I see RIP threads I say "I had no idea he was still alive."

Marcel Duchamp Rrose Selavy V. Selvaganesh

Re: "late" Powell, I'm late to this discussion, but here's my take: Powell in '53 (mostly live recordings) was OK, but a less nimble version of his former self. Most of the later Verves and RCA recordings to me are painfully bad. For the later Blue Note sessions he seems to have come up with a modified, more hard bop and less bop-virtuosic style that worked well enough, but couldn't compare to 1946-51. From '59-'63 he seems to have returned to his classic style, and at times he sounds as brilliant as ever (e.g. Lausanne, Portrait of Thelonious, and a few others). Blues for Bouffemont is an interesting document of Bud at the end and how erratic he was: the first session has some brilliant moments and the second session is an incoherent mess.

Wordplay AND faceplay AND back to MY previous post...

Going with this one--one can't just choose an earlier one to respond to!

I did some projects with some of these guys in the '80s (Phillip, Joel & Hofstra)--I was singing my own lyrics for Monk tunes. Joel is a blast, but a challenge as an accompanist, since he loves to throw curveballs. I always had to keep an ear closely on Hofstra.

On Lawn Guyland?