marcello

Here is another date: October 16, 1977, Vienna, Austria Personnel Keith Jarrett, Jan Garbarek, Palle Danielsson, and Jon Christensen Source audience recording Duration 89:45 1. Track 1 (4:45) 2. Track 2 (8:40) 3. Track 3 (10:51) 4. The Journey Home (2:16) 5. Track 5 (5:07) 6. Track 6 (7:59) 7. Country (4:47) 8. The Windup (13:01) 9. Mandala (11:25) 10. Late Night Willie (14:54) 11. My Song (6:00)

Sweets Edison - Verve Blues - The Tatum Group Masterpieces, Vol. 5 The man plays a solo like he means it! This one should be taught/studied in schools.

Gergory Herbert - Greetings and Salutations on Thad & Mel's New Life: A great, great solo on tenor; I can still here it!

Charlie & Paul: Paul on the left.

Tim Garland plays it quite often and beatifuly. Tim Garland Check out his work here: ....and also his Storms/Nocturnes Trio with Geoff Keezer & Joe Locke Very rewarding music.

.....and me too!

I've got another.... George Coleman - Soul Eyes from Live at Yoshi's. One of the best tenor solos on record; right up there with...... George Adams - Duke Ellington's Sounds of Love from Changes One.... a classic, genre shifting solo.

Miles Davis - My Funny Valentine - Jazz at the Plaza , a really extrodinary solo of a song that he recorded and played many times; you should hear this. Also this appears on Bill Evans - Piano Player

Here is some information. I have both the Gil Evans and the Elvin Jones recordings, mentioned below, on vinyl: Masabumi Kikuchi also known as ‘Poo’ Born Oct.19, 1939, in Tokyo. Before going to Berkley, Kikuchi sat in Sonny Rollins’ Japan Tour. Following 1972, Kiukchi went to the States to join Elvin Jones, touring New Port Jazz Festival, Toronto and many other places in EJ’s group. Also recorded “Hollow Out” with Elvin Jones with R.V.Gelder. In July that year, he held a recital inviting Gil Evans for the arrangement (+ Marvin Peterson;trumpet, Billy Harper; tenor saxophone) and recorded “Masabumi Kikuchi with Gil Evans”. This was the very start of the musical bondage of Kikuchi & Evans. Masahiro Kikuchi was born in 1932, also in Tokyo. I have no idea if they are related but the both appear together on a Sato Wantanabe recording from 1970 or so.

Here's something related, from Pat LaBarbera, who played with both. "For Pat, though, years on the road with Buddy Rich and a decade or more with Elvin Jones have left their mark." "Elvin told me he was always trying to sound like Buddy Rich but it just didn’t come out that way," says Pat. Buddy loved Elvin, Phiil Joe and Max. And they loved him.

Dave Kikoski records plays around constantly! He's at Iridium in NYC next week with Beatle Jazz.

Re:Cool World I have it on VHS. I bought it quite a while ago.

Here they are: Side 1 Slop Diane Song with Orange Gunslinging Bird Side 2 Things Ain't What They Used to Be Far Wells, Mill Valley New Now, Know How Mood Indigo Put Me in That Dungeon I have both the original stereo LP (CS 8236 ) and the new CD ( a gift) and I like the LP sequence better than the cd with the extra takes. They should have left them on the shelf.

I love Act One with Joe Romano but I never knew about "Notes To You". Joe Romano & James Moody:

I have this one, that I enjoy: Bola Sete at the Monterey Jazz Festival By 1966, Bola Sete, known for his brilliant Brazilian Afro-jazz fusion, had formed his own trio with drummer Paulinho Da Costa and bassist Sebastiao Neto. This CD features a medley of songs from the movie Orfeo Negra (Black Orpheus) and two original compositions, including an exquisitely Brazilian "Flamenco", on which the players catch fire. Bola Sete Website

Paul Chambers, Lee Morgan, Tony Williams........ Compared to many that are touted today, isn't it amazing how each one of these artists had their own personality and concept at a young age? It speaks volumns of their early dedication to the music. Serious , gifted and hard-working artists.

Carmen McRae: At the Great American Music Hall - Blue Note "Carmen McRae has always shined on stage, and this fine account of her 1976 three-night stand at the Great American Music Hall in San Francisco proves the point. Couched in that stellar Blue Note sound, McRae ranges far and wide on a set of standards. And McRae not only spices things up with an impressive reading of the bossa nova standard "Dindi," but she even goes completely out of her expected domain with a version of the Alice Cooper ballad "Only Woman Bleed" -- interesting, to say the least. Surprisingly, though, she turns this FM hit into one of the most effective performances here. The whole recording is remarkable, for that matter. And this, no doubt, can be traced to the McRae's choice of backing, which includes the venerable Dizzy Gillespie on trumpet and future drumming heavyweight Joey Baron. A must for McRae fans."

Don't worry guys. There is a cut on Bob Brookmeyer's "Blues Hot and Cold" where Mel Lewis drops one of his sticks and, to make it fit in, a bit later drops his stick again; in time. I listened to this on tape with Mel late one night and he pointed it out to me. A lesson from a Master.

No visual proof Mike, but it is spelled Pythodd . I only went there once to see Roland Kirk ,after work when I was a busboy at another club, when I was 14.

Here is a great one of a old Rochester club The Pythod Room, which was a home that was the clubhouse of the The Order of Knights of Pythias. Everyone played there when Rochester was on the circuit.Paul Hoeffler

I always loved these for the good feeling: Au Club St Germain, Vol. 1 Au Club St Germain, Vol. 2 Au Club St Germain, Vol. 3

Yes Jim, and that one has my late friend Barry Kiener playing piano.

You know, I've been tranfering some old tapes that I made off the radio to cd recently and I have been planing to do that to a couple that I have of this group. The information for those would be nice, if I can ferret it out of the air. I liked this band much better than the European band. Just one man's opinion.

I saw this band last night and heard just about the same set except there was a very fast Round Midnight, and there was very little trumpet playing from Tolliver. The stand-outs for me were Bill Saxon ( I haven't heard him in a long time ), the trumpeter, the young Keyon Harrold and Ralph Peterson. Peterson was great, in his bombastic way; and I am one that finds is small group "dynamics" bothersom. He nailed every cue in every ensemble in this very percussive music and was as LOUD as he could be. Really the perfect drummer for this emsemble. I think he found his calling, here. Unless he joins a drum and bugle corps.

This is a review from the current JazzWeek issue. Congratulations, guys! organissimo This Is The Place (Big “O” Records) LANSING, MICHIGAN-BASED organissimo (with a small “o” despite its Big “O” Records label) somewhat self-deprecatingly refers to itself as a bar band. But the group goes well beyond that as it stretches the boundaries of the traditional organ trio with bits of funk, blues, Latin,groove and New Orleans influences. The trio is smack dab in the soul jazz pocket with its opening “Wealthy Street” and gets down and dirty with a Big Easy-influenced “Greaze Monkey.” “Tenderly”shows the group’s softer side, as organist Jim Alfredson’s bossa nova arrangement leads to some sweet guitar from Joe Gloss. Versatile drummer Randy Marsh even doubles on harmonica on the slow gospel-funk of “Brother Ray.”Yet anoother gem on this CD is a venerating cover of Frank Zappa’s “Peaches En Regalia.” More than the run-of-the mill organ combo, organissimo should appeal to B3 lovers and groove kids alike.