Alon Marcus

This is a great idea !

I'll be glad if someone could do it. Didn't find on this board additional information. Michael, don't you save some of your posts in one file ?

My vote went to Wes who happens to be one of my favorite musicians generally. Among the men that were mentioned he has the best sound quality IMHO. Another important Organ/Guitar project is the relatively recent recording of Michael Brecker, Larry Goldings, Pat Metheny and Bill Stewart. For those who live in Europe you probably could see their concert on the Mezzo channel. Their record is called "Time is of the essence". Most of the tunes in that album are very good, Metheny improvises well in such authentic jazz settings and his collaborations with Brecker are always a pleasure.

Coltrane's first album on Prestige (not counting Dakar that now went out under his own name which is not what supposed to be originally) simply called 7105. There is a trumpeter whose name is Johnny Splawn on that album. He does a pretty good job and he is quite obscure (never saw his name in other occasions). Who is this guy? Is this a pseudonym for a real name?

Who, Kenny ?

Benny Harris I think he wasn't mentioned on this thread. In the forties he was in the vanguard of bebop. Born in New York on April 1919, was active in the bands of Coleman Hawkins, Don Byas and Oscar Pettiford on the 52nd street. He composed the famous Ornithology with Bird and disappeared in the fifties. Dizzy and Dexter Gordon had quite a positive opinion on his advanced improvising abilities and playing. His greatest problem (like for many others) was drugs. Only heard him erratically on few occasions as sideman for others, I'll be glad if someone could tell what happened to him later in the sixties and what recordings he made.

Justice must be done, the name of the painter is Will Enns you can find his pictures here you can find his pictures here not very simmilar to Dizzy and Ella but still colorful and entartaining.

Thank you Bentsy, actually it was your recommendation on our "native" forum that made me start listening to him.

Did you see how large his fingers are ? He is catching the whole neck with no problems. His wife/girlfriend should be a happy woman

relyles, it seems that your avatar and the picture of Anthony Wilson I found were painted in a similar manner, maybe by the same man/woman. B-)

thanks a lot for the recommendations. I'm only begining to study his father work but also enjoy it very much.

Don't know much of his work except for the three sounds project but he is surely one of the greatest solo pianists. His Maybeck recital is one of my favorite recordings and I recommend it highly. Happy Birthday Gene and thanks for the happy moments on this record.

I was following the discussion with great interest and would like to recollect my thoughts about it. First of all: OP is a great pianist (for me of course) when comparing his imagination and creativity with many other players, but he certainly has his flaws (like any other human being). These flaws are more obvious than in many other artists because he was exposed to a big dose of criticism. Second thing: many of the critics are right when talking about his flaws, but if you like an artist's work you usually accept his good and bad sides in one package. Third and last for a while: the truth actually is that OP was very lucky being criticized a lot. This means he was being exposed, listened and analyzed, which is more than many others ever got. P.S. Hank Mobley, whom I also enjoy very much, is a good example for a musician that was not given the proper attention for a long time and today many jazz fans have a tendency of over praising him (contrary to Oscar). Please don't say that he and Tina Brooks suck. You are talking about musicians that dedicated their lives to creating jazz and were very spirited musicians.

Recently I heard on a radio few tracks by Anthony Wilson's nonet (think it was a nonet, certainly not full big band but still relatively large). One of the tracks was called "southern gentleman" and Bennie Wallace was playing the tenor solo there. Truly impressed by the young Wilson's arranging skills, playing and band leading I'll be glad to hear your opinions about him and recommendations on his albums.

This is a very good album by many parameters. One of those sessions that walk on the border that lies between free and modal lands. The album is not totally free, though there are many moments when Larry is just plays percussively. The last track, "Love Drops", is in the same idiom like his "Unity" album. Both: "Visions" and "Street Scene" are modal tunes. Rock rhythms diffuse in many parts of the record and sometime remind me of "Bitches' Brew". The interaction between the drums and the organ is terrific. Lee's problem is that he is not always blends naturally with them like Herbert Morgan does. Still Lee is playing great, turning many be bop clichés into developed and long musical statements. Visions - happens to be my favorite track on this one. I also like very much the ending of the first track Mother Ship, wonder if it was planned or improvised.

Three harmonic instruments are always a trouble (vibes, guitar and piano). Luckily, the album is orchestrated thoughtfully and not too dense. The compositions are really good (this album is somehow a compositional contest between these great musicians), and the "heads" performed great. The problem with the album is that on some of the tracks there is just not enough space for improvisations and developing ideas (this means simply that improvisations are too short). Still I have this disc and enjoy it a lot.

Welcome ! Anytime !

an elaborate especially melodic part accompanying a solo or principal melody and usually played by a single instrument a song with violin Thank you very much !

I tried to listen to the J.J. box and didn't like it. It is not essential for Miles' fans (or any other music fans). It's digs to much into technical detailes. In addition to being boring this attitude is like showing all the tricks of a magician.

I have no doubt that the riverside box is the ultimate but since I have about half of the albums of it I bought the Prestige box.

Hello, what is an obbligato ?

I remember when listening to his "Night Train" album that in the liner notes there was a description of Oscar dissapointment with playing Parker's tune. Never understood it - the alternative take sounded great to me. Peterson was a great beboper but he didn't record much bop classics by Parker/Dizzy/Powell/Dameron or whoever. Maybe it's a good example of the underestimation he deeply felt, but generally I don't think that Oscar was so unsure in his abilities.

Everything that is modeled after Miles' sixties quientet has always been of great interest for me and so are Brecker's cooperation with Hancock. Directions is really good though it is certainly not better than the classic V.S.O.P I have the Haynes cd and enjoy it very much the main reason being Kenny Garrett. Dave Kikowsky, the pianist, also does a very good job there.

Maybe the problem with Oscar is that he was to much pretentious and ambitious ? Do you think if he limited himself to specific settings we would only praise him ? When looking at such masters like Hank Jones, Mal Waldron etc. I think that Peterson was not less imaginative and creative, but probably he was too active and tried to force himself into jazz history while the others were more humble.

Clem, you confused me with your post. What did you mean ?