jazzbo

I'm glad this release was recommended, because I haven't spun this in a while and I enjoyed listening to it again; it sounded really nice on a stereo that is improved since the last spinning, and I heard some new aspects to the music. Really, this one I've had differing reactions to over time. Ultimately, I prefer the Mingus compositions here almost exclusively in their first recorded incarnations. I find that I like Mingus' works better in a small group. He worked hard to make a small group sound large and the effort helped to put across the emotions in his music. (And boy is his music emotional!) Still, he had some great albums with a larger ensemble. This isn't usually my top pick in that category, BUT this time around, I enjoyed it. (Sometimes I don't have the patience for this release; this time I was feeling groggy and I let it wash over me, and it was akin to motorcycling on a very hot Texas afternoon. . . the hot wind washes past you and pushes against you. . . .) I think this and several other works during the years surrounding this can be interpreted slightly as another open letter to Duke Ellington. Mood Indigo certainly seemed to be pointing at that orchestra and saying "you could do this chestnut this way, roast it a little." Also I felt that "Better Get Hit in Your Soul" and "Theme for Lester Young" were approached with ducal intention. . . I may be way off base on this, way off base. I also would like to know how extensive and in particular where the Bob Hammer attention and execution was. "I X Love" and "Freedom" (not on the lp; I've only got the cd any longer) seem to me to have a Gil Evans sound to the arrangements, and this made for an interesting listen this time through, listening to that sound. . . . I found that I still think Mingus had the best solos and showcases, although every time I hear Dolphy on this it perks me up. Dolphy and Richardson are excellent here. Richardson's baritone is really a force on this---the recording in general is very good, but the way that the baritone and other saxes are captured is quite exciting. Booker Ervin is a saxophonist that I seem to be less enthused with as time goes by (another is Wayne Shorter; I find that the odd sounds in the style of each are just a little too "bag of tricks" for me in the long run) but the way that his tenor is recorded here helps to make this a standout recording for his work for me, and he has a great solo or two here, some of my favorite of his. Also having Perkins on some tracks lends a different feel than the locktight pulse that Mingus and Richmond always produce. That's something to listen for on this release as well. Thanks again for bringing this up as a choice; I really enjoyed my listen to it today!

Jim, I would take a chance on the Gal Costa in your shoes. What I've heard of her seems to indicate that the sound of her voice is worth pursuing. . . . I have an earlier cd of hers on order to arrive soon (and a much more recent one as well) and will be learning more about her work in the near future.

I put down Lee and Wayne. It's how I like Wayne best.

Those are two interesting women in one image frame! Two cd "Rainbow Bridge"? Could you mean two cd "Isle of Wight" (Blue Wild Angel)?

Jimi Hendrix Tanita Tikaram Traffic James Brown

MM, I do myself think that the new material on the three cd set is up to the quality of the original release. I'm sure you'll like it! I enjoy the "Lost Sessions" cd for what it represents, a new direction that is not necessarily the direction that others seeking something new traveled. It would have been great to see where he would have gone. . . .

I most enjoy Coltrane's feature, dedicated to the others, "Get out of Town."

Chris, it's the same Buddy. . . in many ways. I have heard only a lot of live Gatton and Emmons. This is a little different, but essentially it is Buddy swingin' away.

This spring for me it's bossa nova. One year, about three back it was Bud Powell: I played Bud Powell a LOT til summer hit. The year after that it was Duke Ellington, session after session. Generally speaking, in the spring some genre or artist takes hold and I dive in deeply.

So many of these are great recordings that I really enjoy. "Changeless" is different, and a favorite.

Right now I'm listening to the Gene Cedric Chronogical Classics. Before that it was the first volume of the Big Maceo RCA cds. And before that it was the Akiyoshi-Tabackin Big Band's "Salted Gingko Nuts."

'Scool. I dig them fine. And the music is great!

I hear ya. . .but I like those voices. I like the voices on "Lift Every Voice" by Hill and the unreleased session included on the Conn. I like the Sun Ra voices. So these are all in the same vein. I like the two Gales and will be on the lookout for the reissue of Ghetto Music on cd. . . .

That was a pretty intense and amazing performance. In many ways I think it's like comparing apples to oranges, but in 1965 Archie was blowing as if to save his life!

I hear lots of Monk influence in this album, that extends beyond just Rouse being on board and bringing in his history. . . . I'm not that sure about Adams, but all the others had recent contact with Monk and this was a time when I think Monk's influence on the NYC scene was being felt among many players. The feel of the r-section here has a Monkian feel; Davis knew Monk personally and musically, Jones and Taylor had been the bass and drums for Monk on recent occasions. The way the swing is and the way that some of the tunes are arranged make me think of Monk. The tune "Here Am I" seems to me to be a kissing cousin of "Sweet and Lovely" which Monk loved to play. . . . Lots of Monk in this session if you ask me, and that is a GOOD thing!

I hear lots of Monk influence in this album, that extends beyond just Rouse being on board and bringing in his history. . . . I'm not that sure about Adams, but all the others had recent contact with Monk and this was a time when I think Monk's influence on the NYC scene was being felt among many players. The feel of the r-section here has a Monkian feel; Davis knew Monk personally and musically, Jones and Taylor had been the bass and drums for Monk on recent occasions. The way the swing is and the way that some of the tunes are arranged make me think of Monk. The tune "Here Am I" seems to me to be a kissing cousin of "Sweet and Lovely" which Monk loved to play. . . . Lots of Monk in this session if you ask me, and that is a GOOD thing!

You will very much like the Charlie Persip date!

I consider the Ellingtons to be essential components of my Ellington collection, and I love the Carmen McRae. The Mann and the Mann-Most are also good. Those would be my hot picks from the list. (I'm not really a Johnny Hartman fan. The Roche and the Jeffries are good. The Faye. . . well some great musicians on there, but I haven't yet fully acquired a taste for her singing.)

Marcus: what an experience! Thank you for letting us know about this.

I'll disagree with PD again. Sharkey's work, no matter how sliced label wise, would make a great Mosaic. It's where I'd like to see them go before many others. The Tea Mosaic arrived at my door last night. VERY NICE SET. VERY HAPPY that Malcolm Addey was the one to do the sound.

Wow, that is a surprise. Maybe it's a select of the Twardzik, Freeman and a few others? I'm down with a Sharkey Mosaic as well Harold!

I'll agree about Jobim. A very wonderful writer and seems like he was a great person. I love that piece Aguas de Mars as well. It's such an interesting piece in structure and the way that the Banda Nova played it is just. . . exciting I guess is the best word!

It's almost the opposite for me: I've really enjoyed their new direction into the earlier decades: Mildred Bailey, Bix-Tram-Tea, Venuti-Lang, Manone-Prima. I agree that some of the Teagarden is tame Tea, but I like Tea thoroughly, tame or torrid, have the lps in this set, and am eager to hear the live material that was unissued (the live lp was the best of the Roulettes for me.) I preordered and should have my set soon. . . .

The Dorothy Ashby is odd, but cool. I dig it. . . not for everyone perhaps, but if you like Richard Evans arrangements, and her playing, you can't miss. Pretty soulful! The Jim Hall is a good 'un. Trio with bass and drums, just a fun live date.