mjzee

Good. I didn’t know what a Helden was!

The keys are held in with a little screw?

Thanks so much! I picked up a copy.

What do people here think of Blue Note dates that Francis Wolff produced after BN was sold to Liberty and Alfred Lion left the company? I'm listening now to Lee Morgan's Caramba!, and can't help thinking the date would have been better with Lion at the helm. The band sounds a little loose, bordering on sloppy, a little sleepy, and I wonder whether Lion would have asked for another take while Wolff let it go; maybe Wolff couldn't hear the difference. Maybe Alfred scared them in a way Wolff didn't. I understand that times were changing, musicians were different, maybe Liberty imposed cost constraints...so maybe it's hard to compare. Thoughts about Wolff's overall tenure? Are there any Wolff productions that people here love?

I personally believe it was due to Monk’s growing mental illness. The last part of the documentary “Straight No Chaser” gives a harrowing view of his decline.

Rouse's playing style always sounded to me like he's a trumpeter.

Not sure what has changed at eMusic, or what it means. They no longer carry SteepleChase, Uptown, Motema, Smoke Sessions, Fresh Sounds, Hat ART, Hatology, Storyville, MusicMasters, LRC/Groove Merchant, Venus, Progressive, Candid, Criss Cross, Capri, Clean Feed, Audiophile, Jazzology, Posi-Tone, HiFi, TCB, Firehouse 12, New World, Reservoir, Xanadu, Sharp Nine, Video Arts Music, Timeless.

My 14-year old son found this on YouTube, and was enjoying it. Looks like more Leo:

Yikes. Supercharged argument over some sub-par music. I wish Monk was able to rethink his music and band, and have some organic growth instead of trotting out the same formula through most of the Sixties. But he couldn't or wouldn't. I think Monk in concert in the Sixties was similar to Louis Armstrong in the Fifties: a known quantity, providing a predictable performance to audiences who came to hear exactly that. Rouse was just an employee, but so was Jack Teagarden with Louis. Monk was trapped inside the same formula as Rouse. Rouse was never sub-par within that formula, though. And speaking of formulas, the band Sphere was more of the same, a nostalgia band for people who wanted to hear exactly that. Considering the players, that band could have been so much more. But they weren't. If you want to hear Charlie Rouse and what else he brought to the music, stay far away from Monk. There's enough other stuff out there to do that.

RIP. I couldn't bear to watch it, but it needed to be made.

David Lee played with Sonny Rollins around this time. Azzedin Weston is Randy's son.

One of my favorites: Also check out his band Le Jazz Modes with Julius Watkins. Also Bossa Nova Bacchanal (Blue Note), with the extra track from 1/22/65.

I don't know about that. My first exposure to "jazz" may have been hearing Shotgun by Jr. Walker on AM radio. And I just learned that the sax solo on this was by King Curtis!:

The Scofield is an excellent selection:

Release date September 15: Release date August 15:

Release date July 13:

I don't know. I just go to amazon.co.uk, start somewhere, and randomly click. One title leads to another. I wish there was a more coherent way to find these new releases.

Well, they were of different generations...and the real break probably happened when Hank was incarcerated and Lee kept working.

My kind of guy! At one point I asked him a rather breathless interviewer's question: "What was it like, in 1958, to come in and set up a session for some new musician you didn't know, and hear Ornette Coleman play like that? Jazz was changed forever from that moment. It must have been incredible. You were there, Roy. What did you think?" In his inflectionless voice, Roy said immediately, "I would have sent him home." "You would have sent him home." "Yeah. I got so I could listen to a lot of the jazz stuff and know where one chorus was going to end and the next one begin. It was important for knowing where to make a splice. But with Ornette, you couldn't tell where you were. It just started out and it ended. It wasn't music at all for me."

Yes, RIP. I was a WMCA guy, thought they were far superior to WABC (and WMCA's Top 57 was far more eclectic than WABC's Top 25, and went far to shape my musical tastes), but I did enjoy listening to Dan Ingram. There was a keen intelligence behind his patter. I remember a moment on WABC-FM/WPLJ around 1970, when they had a show that brought together a number of jocks from different stations to discuss the "DJ life", as it were. Dan Ingram was talking about The Shocking Blue's "Venus," which was banned on WABC. The Shocking Blue were a Swedish group, and while the song was in english, they sang it with heavy Swedish accents. Ingram said the station banned the song because station mgmt thought the way they sang the word "Venus" sounded too much like "Penis." This was probably the first time I heard the word penis said over the air.

Some thoughts: It looks like the last time they worked together was on Mobley's Third Season in 1967. Was there a rift between them after that? Although I haven't heard them, another date to consider resulted in the two Roulette albums Monday Night At Birdland and Another Monday Night At Birdland.

On it's way to me, along with Porter's "The John Coltrane Reference" book.

http://www.dailymail.co.uk/news/article-5896579/Angry-George-Benson-fans-BOO-legendary-star-loses-voice-Royal-Albert-Hall-concert.html

This is a good series, and a great price: https://www.amazon.com/Real-Fats-Waller-FATS-WALLER/dp/B01B2M9H4Y/ref=sr_1_1?s=music&ie=UTF8&qid=1530121449&sr=1-1&keywords=the+real...fats+waller