Roundsound

As you may know, BlueNote has put together 3 radio broadcasts of Miles in 1951. I have not heard any reviews. How is Miles playing? How is it sonically? How is Sonny Rollins>?

Driving into Miami this morning from Broward County, I was suprised to see a Hennessy Liquor billboard featuring a large picture of Miles Davis, with his wrap around sunglasses during a performance. It was titled something, Don't blend in, dare to be different. I bet not one in a hundred drivers will know who is in the picture.

I think I read where KD did a review of Miles' session ESP and did not care for it. Of course, ESP has shown to have held up over the years and indeed was a breakthrough for a more elastic concept of harmonic content.

As of January 9 there are 200left. I was told that orders are about 30 per day. I would think within the next two-three weeks it will be gone.

I've always had a soft spot for Stan Getz plays. He plays with a soft tone (even for him) To me his tone, among other things, was different than his playing into the 1970's. In the same way, Bill Evans' playing became louder (more notes) than his earlier playing. You would think age mellows, but these two guys played harder as they got older. Art Pepper is another example.

A few years back there was word that Peter Keepnews was researching a biog of Monk. He's a good writer of session notes. Any new news?

Nobody has mentioned Wynton Kelly. Alos Sonny Clark has many blues touches to go along with his bebop type touch.

After reading about this CD on this board, I went to Boarders with my 20% off coupon. I was suprised to this CD there. So anyhow, I think this is the best session I've bought in a while. The first cut was named after Benny Golson and everyone took their solo turn and it was good. The title cut is a duet of piano and bass and is a long, but interesting tone poem, space out type of cut. The Joe Henderson feature Herbel Syndrome is amazing. He solos for the entire cut of over six minutes and matches his stuff on Basra. He pulls out all his tricks, including the honking/distortion thing he does. Like the other earlier post says it is a Joe Henderson that you all need to hear.

A number of times Borders has put RVGs on sale for $8.99. My thinking has been, if I don't have the title, I get it when I see it. If I already have the title, I try to find it in a used store or at Borders later on at $8.99.

Boy - If you want to get a rise up out of people is to question Hank. It always makes me feel good when I hear Hank. The Blackhawk Miles was my first intro to Mobley and I thought he was bland. (In retrospect I think what really turned me on to jazz was Wynton Kelly's way of interplaying with Miles. What initially turned me onto Mobley was the Blakey live session with Morgan and Mobley. And when I first heard Soul Station I knew this was a Desert Island pick. (The best sax with jazz piono trio session ever - for me) I agree that Mobley eptimones the cool, shy, detached jazz master of the 50's. This of course matched his playing style, with a strong touch of flair and swing. His solos sometimes have a strong melodic phrasing and touch that could could be turned into heads (ala Bird). His solos lines have a logic as how the parts easily segue into the next. Hank never seemed to lose his way in a long solo. No matter the chord change, all transitions were seemless and smooooth.

Maybe its like a guy that gets traded to a new team. All of a sudden he lights it up. I would think A&R work would be collaborative. Working with a new team may make a difference. I would think Blue Note would be aware of a lot of the thinking in the serious jazz community and may push him into a less overserious setting.

No one has mentioned Sonny making the sax trio cool. Was any player working without piano before him. A more obscure live session is on the Dragon Europe CD of 1959 or so. It appears that Sonny's tone is much different now then in the 50' to 65. Sonny's concerts invaribly mix 2 long calypso songs and songs with repititive backgrounds in which he improvises in front. The concerts that I've seen include a long solo break, which is usually incredible. Why does Cranshaw play electric bass?

There is a used strore near the UCF campus. I picked up some stuff there, when visiting my daughter. I got the Kirk Mercury set there for about $100 and the Desmond RCA set for a very good price. By no means does it specialize in jazz, but with used stores, you never know.

It was exciting getting both sets. I decided to go for the Weston first and listed to the first session. It is really good stuff. After reading the Gryce book, it seems that Weston was one of the artists that wanted to push hardbop into a more artistic direction. Melba Liston did the arrangements and the playing is first rate. Of course, Weston's piano playing is different from the hardbop players that grace most of the sessions, which makes the session more interesting.

I like Charles Lloyd a lot. I call him Coltrane Lite, in a nice way. Not only does his playing have a Coltrane sound, but he also adopted the spiritual feeling of Trane. All this is a compliment.

I just love the title cut. I've always been a sucker for the Spanish and other foreign themes placed into a jazz setting. I'm suprised no one has mentioned the two bass players. There section of the song may be the highlight of the song. Everytime I think of putting Ole in my car, makes the ride enjoyable.

I recall that Lee Morgan & maybe Bobby Timmons were involved in an organization to promote jazz in the late 60s. The article certainly in that theme.

I vote for the Moran as well. The Morgan set has the variety of different settings. My favs are the set with Pepper Adams and Philly Joe as well as Candy. Also there is the variety of drummers lending different flavors. Curiously is the bringing in of Golson and Gryce on the earliest sessions. While Lee Morgan brought in Golson (or vice versa) it also shows the respect Alfred Lion gave to Golson and Gryce to lend some sheen to the teenager's product. Of course there is Lee being up to the job with these charts. Also you got Timmons in early Blue Note form. The Blakey set is of course strong. What can you say with that dream lineup. To have that amount of session work in so short of time with the troika of writers was fantastic and rarely equaled.

Johnny Coles with Mingus- Maybe?

I think for sure Woody Shaw would have broken thru with BN. He had Joe Henderson in his corner. And I would think Horace Silver would have given a good push. I was also surprised how good Tolliver was on the McLean sessions. But I didn't see Tolliver used much elsewhere. Was he? I think some of the artists on Prestige would have preferred the strong Blue Note label. Such as Byard or maybe Charles Earland. What about a further relationship with Dolphy?

Gigi Gryce - Is his first name pronounced with a soft G or a hard G?