paul secor

Happy Birthday to Mr. Berry. One of the people who changed my listening at an early age.

Hunter Hancock Manfred Mann Mike Nichols

Moron Jokes Knock Knock Jokes The Joker

Harold Land: The Fox (Hifijazz/Contemporary)

Bought a Gerry Mulligan Pacific Jazz compilation in late 1962 - included tracks with Chet Baker, Bob Brookmeyer, Annie Ross, among others. At the time, I was just getting started listening to jazz and it was all one thing to me - didn't know it was "West Coast Jazz". Eventually, I found my way to Art Pepper, Jimmy Giuffre, more Chet Baker, Carl Perkins, Harold Land, and many others. Mr. Mulligan more or less fell by the wayside of my listening. And, I guess, for a time Ornette was "West Coast Jazz".

Uncle Remus Aunie Mame Papa Doc

You Get More Bounce with Curtis Counce (Contemporary/Analogue Productions)

Bud Anderson "Kitten" Anderson Cat Anderson

Chet Baker Trio: Daybreak (Steeplechase)

The "march" idea may be right. As an outsider (non-musician), I have the sense that Mr. Roach thought of himself (especially from the late 50's/early 60's on) as much a composer as a drummer, which may have led somewhat to a loss of flow in his drumming. But I'm not a musician, so what do I know? edit: To try and clarify what I said (or perhaps not) - I think that Maz Roach was perhaps more concerned than most drummers (I definitely exclude Jo Jones from that "most") with the sound of his drums and drumming. I think that he was also very aware of the architectural qualities of his drumming. These concentrations may have led to a certain lack of flow in his accompaniment.

Captain Marvel Marv Throneberry Dick Stuart

Agent 99 Kirk Felton Felton Jarvis

Since it doesn't cost anything (except a little time and maybe my credibility), I'll add more recordings that perhaps weren't of earthquake quality, but shook me in different ways just the same: Eric Dolphy: Far Cry Miles: Someday My Prince Will Come; Four and More Roy Eldridge: Rockin' Chair Trane: Meditations Archie Shepp: Four for Trane, On This Night Art Ensemble of Chicago: Reese and the Smooth Ones - the first time I heard the AEC as the AEC. Duke Ellington: "...And His Mother Called Him Bill." Horace Silver: Cape Verdean Blues Cecil Taylor: Looking Ahead George Russell: Ezz-thetics An Electrifying Evening with Dizzy Gillespie Mingus Mingus Mingus Mingus Mingus Charlie Parker: One Night at Birdland Ornette Coleman: Golden Circle Vol. 1 Don Cherry: Symphony for Improvisers Pee Wee Russell: Ask Me Now Steve Lacy with Don Cherry: Evidence Roswell Rudd: Everywhere Duke Ellington: The Queen's Suite Charlie Parker: Complete Savoy Recordings Billie Holiday: Lady in Satin

Happy Birthday!

I love the Konitz Meets Giuffre set. If I didn't already have it I'd go for this copy.

According to Allmusic, the Baystate was recorded in 1973 and the Mesa/Blue Moon was recorded in 1992. I have the Mesa/Blue Moon, so I can verify that date. Checked a discography and 1973 seems to be right for the Baystate. Anyway, thanks for the reminder about the more recent M'Boom. Haven't played it in years, so it's time for a re-listen.

Woody Shaw: In My Own Sweet Way (In + Out) Some wonderful trumpet on this one.

These shook my world in different ways during the first years I listened to jazz: Clark Terry: Duke with a Difference - Probably didn't shake anyone else's world but mine. It was one of the first jazz records that I bought when I was seventeen years old. My introduction to Johnny Hodges (and Paul Gonsalves) and actually my introduction to Ellingtonia (even though Duke wasn't present). Sonny Rollins: Our Man in Jazz and Charles Mingus: Mingus Ah Um - Bought these two on the same day shortly after the Terry. I looked forward to hearing the Rollins, partly because there had been a fair amount written in the jazz (and non-jazz) press about his hiatus from public performances. I didn't find copies of his first two RCA LPs, but this one was on the racks. My first listen was a disaster. I'd never heard anything quite like this record and I was lost and depressed that I was in way over my head. I played Mingus Ah Um and felt an immediate sense of relief. This was music I could relate to and feel. Soon after, I came back to Our Man in Jazz and was able to understand at least some of what was going on. I learned the lesson that listening has to be an active as well as a passive activity. Louis Armstrong: "Skid-Dat-De-Dat" - I was watching a television program hosted by Ralph J. Gleason, and his guest was Louis Armstrong. At one point, Mr. Gleason played a record (unusually enough, since this was television). That record was "Skid Dat De Dat". I'd never heard anything quite like it and I knew that the music wasn't what I'd come to expect from the Louis Armstrong I'd seen at that point in my life. I got hold of the four volumes of The Louis Armstrong Story on Columbia as soon as I could. The Ellington Era Volume 1 (Columbia) - Bought this shortly after the Armstrongs, and I realized right away this wasn't the Duke Ellington that I'd seen on TV. My real introduction to Ellingtonia. Duke Ellington at His Very Best came shorly after that and introduced me to the early 1940's Ellington Orchestra. I was hooked. Ornette Coleman: Ornette! - I'd read about Ornette, but I hadn't heard him. Picked this up on my way home from a summer job and played it immediately. On my first listen, I couldn't hear what was happening, so I took the record off. The next evening, I played it again. I was tired and listened as I was half awake/half asleep. Maybe it was because I was relaxed, but I was able to hear the music and never had a problem hearing Ornette again. Charlie Parker: Bird at St. Nick's and Jazz at Massey Hall - I'd read about Charlie Parker and wanted to hear his music. Bird at St. Nick's was the only Bird record I could find. Probably not the best into to Bird's music, but it worked out for me. Hearing Jazz at Massey Hall a little later helped out. Thelonious Monk: Criss Cross, Brilliant Corners, and Monk's Music - Criss Cross came first because it was readily available. The two Riversides came about a year later. Billie Holiday: Lady Day - Billie and Pres. Nothing more needs to be said. Sidney Bechet: "Summertime" - I'd heard "Summertime" before, but not the way Sidney Bechet played it. Albert Ayler: Spiritual Unity - I'd never heard any sound like Albert Ayler's before. Still haven't. Cecil Taylor: Into the Hot - I listened to this every day for about two weeks to try and and prepare myself for an upcoming Cecil Taylor concert at the college I was attending. Of course, when the concert happened, what Cecil was playing was very different from the record. Still, Into the Hot got me through the door and Cecil has been an important part of my life since then. Bud Powell: "It Never Entered My Mind" - It took me a long time to truly hear Bud Powell's music - probably because there were so many pianists playing in his style that it was hard for me to discern what was unique about his playing. Then I heard "It Never Entered My Mind", and it was, "WHOAHHH. I'd better pay attention to what's going on here and find out everything I can about it." Most of these records came fairly early in my listening days, but they did shake my world and paved the way for today.

Chet Baker: Once Upon a Summertime (Artists House)

Missed this when it was posted. Wonderful news! Great that people have once again come through. Jim, I hope you'll let us know in advance when funds are needed.

Warne Marsh: Posthumous (Interplay)

Happy Birthday, John!

The Inch Worm Yardbird Vincentio

Hm, the presence of Joe Pass on an infinity of Pablo sessions was an instant 'ignore' message for me. It seems I've missed quite a bit of good music, that way (though Joe Pass is still a big turnoff - apart from his early recordings with McCann, Holmes, G Wilson & Bostic. MG Yeah - even if Granz or Basie didn't want to go with the obvious (Freddie Green), there are a number of guitarists who would have fit in better on this date than Mr. Pass. That said, his presence doesn't spoil the record for me.