Pete C

No but to write a biography requires lots of legwork, research, interviews, travel and--heaven forbid--the ability to write a coherent sentence within the rules of standard English grammar, orthography and punctuation, a tall order for some, I'm afraid.

Why do I suspect the above "query" is spam?

If that's a ginko pod, I don't want to breathe.

Hazel Dickens Shirley Booth Abe Lincoln

If you plan on writing a book I'd suggest you do some major woodshedding. I like him well enough as a player (when he could still play), but it's his composition talent that makes him one of the undersung greats. His two albums on Blue Note and the ones with McLean (where Moncur is really the main force behind the music) are among the greatest albums of the '60s, IMO. I wouldn't be surprised if Lion and Wolff felt that he belonged in the lineage of Monk, Herbie Nichols and Andrew Hill, all of whom they were so taken with. Anyway, I must say I do find it weird that Mobley has a kind of idolatry that even Wayne Shorter can't come near touching, if we're talking Blue Note--at least as far as jazz board denizens are concerned. But yes, it's all a matter of taste. I'm a Hubbardite, and little of Lee Morgan before the bands with Harper and Maupin does much for me, which I'm sure sounds like heresy to many here.

Personally, yes. Maybe not disposable, but dispensable. I can name at least 50, maybe 100 tenor players I prefer. The only Mobley album I ever owned was The Turnaround, mostly for Freddie's brilliant contribution.

The cult of Grachan Moncur III I could understand...

The song is "The Jealous Kind" from Stingray (1976), also on the Millennium collection. Sam is on soprano, though I'd never have guessed it was him. from Wikipedia (cached, since the site is "black" today): Personnel * Joe Cocker - lead vocals, guitar * Eric Clapton - guitar * Cornell Dupree - guitar * Steve Gadd - guitar, drums * Eric Gale - guitar, arranger * Albert Lee - guitar * Gordon Edwards - bass * Richard Tee - keyboards, organ, arranger, associate producer * Sam Rivers - saxophone * Felix "Flaco" Falcon - conga, percussion * Patti Austin - backing vocals * Bonnie Bramlett - backing vocals * Lani Groves - backing vocals * Gwen Guthrie - backing vocals * Phyllis Lindsay - backing vocals * Brenda White - backing vocals * Maxine Willard - backing vocals * Deniece Williams - backing vocals * Tyrone Downey - arranger * Peter Tosh - arranger * Marco Aglietti - associate producer * Baker Bigsby - engineer * Neil Case - engineer * Bernie Grundman - mastering * Bob Cato - design * Lee Jaffe - photography

Philip Pirrip Charles Dickens ... and his son, Little Jimmy Dickens

I just told a coworker that if somebody with a cursory knowledge of jazz, someone who has probably heard of Coltrane, Getz, Hawkins and Young, started reading jazz bulletin boards he'd be startled to learn that Hank Mobley was the greatest tenor player in the history of the world. Personally, I don't understand the cult of Mobley.

Sig Sackowitz Sig Ruman Ruth Roman

It is curious that it never seems to have had a commercial release. I wonder why Sony didn't try to get the rights at the time of the JJ box.

Please don't let Geraldo Rivera host the special.

http://www.ebay.com/itm/ROCKY-BOYD-QUINTET-Kenny-Dorham-JAZZTIME-Sealed-LP-/320461090627

Morgan Fairchild Billy Childs Kid Gavilan

Right you are, according to Szwed: http://books.google.com/books?id=qDl3zKlMNbQC&pg=PA235&lpg=PA235&dq=rocky+boyd+miles+davis&source=bl&ots=n6VBP6N7DF&sig=6X2nEEvKUC54OgEbQMr7qpzYqCI&hl=en&sa=X&ei=AvYWT5-XFePi0QHKxfXEAg&ved=0CDcQ6AEwAw#v=onepage&q=rocky%20boyd%20miles%20davis&f=false

Leon Redbone Leon Trotsky Leon Czolgosz

Wasn't Hank with Miles for about 2 years, going by Losin's website? As far as recordings, I see Someday My Prince was recorded in March of 1961, and his last appearance with Miles on record is the Carnegie Hall date in May of that year. And I don't think his tenure with Miles was that much longer than that window. Where do you see otherwise? Here's the relevant section from Miles' autobiography: http://hankmobley.blogspot.com/2004/10/miles-davis-autobiography-mentions-of.html Hank was replaced by Rocky Boyd (not Rocky Body).

Yes, I saw Mixon once, at the Gate too, I believe it was Spring of '76. I wonder if those Keystone Korner dates in the discog are in Todd Barkan's collection. Might we ever see an official release, maybe courtesy of Sue? I also wonder why Sony wouldn't release the earlier Ronnie Scott's date they recorded that was superseded by other projects.

Herbie Hancock John Hancock Button Gwinnett

Mobley was one of a number of saxophonists in the interim period between Trane's departure and the George Coleman edition with the new rhythm section. And Mobley wasn't with the band that long, it's just that the amount of recorded material gives that impression. IMO, Mobley is coincidental to the overall sound; I think the rhythm section is the key to the change in tenor (no pun intended). For me the highlight of the Blackhawk sessions is the amazingly high quality of the Wynton Kelly Trio, as they would shortly become. Miles didn't like Hank, Tony didn't like George, maybe Miles wasn't happy with Sam (but Sam also said he felt constrained), but Everybody Loves Wayne. As far as Sam and Miles, I think I said this on another thread, it's funny to think that Sam was too "out" when you listen to what Wayne was doing at The Plugged Nickel. There are hints of something (Milestones), but on the whole Mile's playing with Bird was pretty raw - nowhere near Fats or Diz. In fact judging from his early playing, as a horn player it's remarkable he became as great as the critics said he did. Q The Milestones (orig.) session was Miles' first date as a leader (hence Bird on tenor), and it gives a hint of his mature sound (as does some of his playing on the Royal Roost sessions toward the end of his tenure), but don't forget that Miles was very young when he played with Bird, and MUCH less experienced than either Fats or Diz. Still, the lyricism you hear on his Milestones/Half Nelson date and the Royal Roost appearance with Dameron (very different from the Paris date) shows the special lyricism that he'd further develop. There's plenty of "bebop greatness" on some of Miles' 1953-56 Prestige and Blue Note recordings, IMO.

Carol Baker Carol Lynley Jean Harlow

Porter King Porter Kilbert Percy Kilbride