Alon Marcus

I remember reading in Hadlock's book that the Mellrose Bros. published books with Armstrong's 50 solos and another one with 125 breaks he played. Does anybody has more info about these books? I assume they are OOP for a long time but probably influenced many jazzmen at some time.

Hell yeah! G - R - E - A - T album! I already have a busy listening week getting ready to for Shepp, Hicks, Campbell, Murray, Parker and Drake that are supposed (with God's Help!) to be here in the next month. Also listening to lots of Armstrong and Ellington. So I really hope I'll have time to Way Out West once again. His VV live recording is another trio album I like very much.

Some females! Marry Lou Williams - she gave lessons to both Monk and Powell. Joanne Brackeen - hope I spelled the name correctly, she was discovered in Art Blakey's group and was discovered by me ( )with her Maybeck Recital. Alice Coltrane - I don't like to hear her playing too much but in small doses she is o.k. Maybe more important as a bandleader or composer. How about Marilyn Crispell and Myra Melford, I'm not familiar with their works? Some big band leaders were good pianists, Duke and Count are obvious but what about Gil Evans. He has a duo album with Steve Lacy, which puts him in quite a hard competition with the other pianists with whom Lacy recorded duets (like Waldron). George Gruntz that was mentioned is indeed a fine pianists, he rarely displays it in his big band setting but when he does it's impressive.

Michel Petrucciani - can't agree about him. He is not overlooked by the general jazz community though he maybe overlooked by the hardcore "blue noters". I knew his music years before I heard Randy Weston's name and so is most of my friends and relatives who listen to jazz.

I'm not sure at all that Red invented the block chords. I think that it was George Shearing who first used them extensively but maybe there was someone earlier.

Thanks for the info Skid. I suspected the tsunami is just being used as an advertisement for these beautiful pictures.

I have this albums for years. It's with Santana and John McLaughlin. I was amazed when I recently realized that the "great" Larry Young plays there. He is negligible on that one, you don't have to be Larry Young to do what he did on that record. As for the album; it's a bit boring, mostly modal exploration of Coltrane's and Sanders' tunes. The originals are much better. McLaughlin plays very good IMHO but in this case it's to much of a good thing. His interplay with Santana might be interesting for some guitar aficionados though.

Yet another mystery photo

Another one

Close to thread's topic. The tsunami brought out amazing fish from the deepest levels of the sea. Even though some of them look like the ones you buy in your local grocery store, some are really beautiful and scarry! Here are some pics.

"Miles Ahead" was recorded during the spring of 1957. It was the album that brought much critical acclaim to both Miles and Gil. In February 1958 Davis cut the masterpiece "Milestones" with Cannonball Adderley and he probably linked between him and Evans. "New Bottle Old Wine" is a very fine and hard to find album that was made in the spring of 1958, just a few months before Gil's and Miles' ultimate masterwork "Porgy and Bess". One of the reasons for this album being so special are the warm solos by Cannonball. So different in approach than his boss at the time, Davis. I think it's one of his most inspired works. He catches the listener's ear from the start, playing a few bars just by himself, calling like a preacher with his blues wailings. Evans uses some of his wonderful "trademark tricks". Teaming Julius Watkins' French horn with the trombones to create mellow chords and sometimes pairing it with the clarinet. It's amazing that he makes these chords sound totally Evansian just with the addition of the tuba and the French horn. He also likes to create trembling and disturbing sounds with the combination of muted horn, flute and one note long tremolo on guitar. But it's not the arrangements, nor the wonderful work done by the star soloist Cannonball Adderley and other great musicians like Art Blakey and Johnny Coles and it's neither the tight and exact ensemble work. It's Evans the composer that really holds the interest for almost forty minutes. Strange statement indeed! The disc contains great jazz classics beginning from the New Orleans tradition ("St. Louis Blues" and "King Porter Stomp") to bebop ("Manteca" and "Bird Feathers") and none of them by Gil. Nevertheless he creates new music inside the old songs, something like an "inside composition". This is obvious in his reworking of "Round Midnight" and "Manteca" which are sewed and connected together like a small suite. When "Manteca" starts only the bass plays the original rhythmic motive, which is central to Dizzy's original version. The melody is built from Dizzy's bridge. It is presented twice slower than the beat and creates a sad and melancholic effect. When the band finally launches into the leading dominant chord it sounds totally different from Dizzy's happy and energetic source. It's a bit dry, sad and has that special Spanish quality that appeared a lot afterwards in Gil's works. Evans wrote a true tribute to his mental jazz parents, based on their creations but fresh and surprising.

I was listening to Archie Shepp and his "Four for Trane". Afterwards I listened to "Giant Steps" by the master himself. Syeeda Song Flute and Naima are stuck in my head right now.

Well, I'm not sure I'm in the right forum, but can someone please give me directions on how to put some greeeaze on my organ? Also, do you have the phone number of the "Boogalo Sisters"?

Why did you create another account? I can just change your name if you'd like. Thanks b3-er!

Diana Krall!

Welcome Elis! You were right about Avishai the bassist and the trumpeter, that's what the wink was all about.

"Song from the old country" - George Adams and Don Pullen.