marcello

I've been listening to some radio recordings of Herbie with Bobby Hutcherson, Scott Coley and Terri Lynn Carrington made for a tour in Europe in 2003. Let me tell you that Herbie is still as creative, hip, slick, and impressive as ever. These are all acoustic sets that are so good, that if he released something like that here, would shake everybody up!

Lee Morgan - These Are Soulful Days - written by Cal Massey, comes to mind. I knew that Massey had deep roots in Brooklyn and I came up with this: Brooklyn’s Jazz Renaissance by Robin D. G. Kelley April 2005 "During the 1960s and early 1970s, the late Cal Massey, an extraordinary composer and trumpeter, turned his Brooklyn home into a veritable community center. Besides writing explicitly revolutionary pieces like “The Black Liberation Suite,” Massey organized benefit concerts for the Black Panther Party that encouraged the full participation of the community, especially youth, by banning alcohol and providing free childcare." And with Archie Shepp..... "In 1969 he became associated with Cal Massey, playing his compositions and in 1972, a musical on which they collaborated, “Lady Day: A Musical Tragedy”, was performed at the Brooklyn Academy of Music. "

Re: Vinnie Ruggiero Vinnie played and recorded with both Slide Hampton and Lionel Hampton besides the usual Upstate players like Sal Nistico and Mangione. A visceral player who was a great follower of Philly Joe Jones. Vinnie, who had some real "personal problems" as they say, has passed away. His son Charles, is also a fine drummer. This is a good one that combines two Sal Nistico Lps, "Comin' On Up" and "Heavyweights": SAL NISTICO Heavyweights Milestone MCD-47096-2 Sal Nistico definitely was deserving of wider recognition. In the realm of hard-swinging post-bop tenor saxophone, Nistico (1938-1991) had few equals. Best known for his dynamic work as a star soloist at various junctures (from the early 1960s to the early 1980s) with Woody Herman's and Count Basie's orchestras, Nistico made his debut as a leader in December 1961 with Heavyweights. The quintet date found him at the helm of a New York all-star unit, with all but drummer Walter Perkins also employed at the time by Cannonball Adderley's popular group. Ten months later, in October 1962, Nistico fronted another quintet, this one featuring little known but talented trumpeter Sal Amico, a fellow upstate New Yorker. (Barry Harris was at the piano.) The happy result was Comin' On Up. Both sessions, long overdue for reissue, spotlight an amalgam of the crisp and fiery neo-bop with a tinge of soul-jazz that defined the East Coast sound during the early JFK era. Mamblue; Seconds, Anyone?; My Old Flame; Shoutin'; Au Privave; Heavyweights; Cheryl; Ariescene; By Myself; Samicotico; Comin' On Up; Easy Living; Down with Nat Adderley, Sal Amico, Bob Cranshaw, Barry Harris, Sam Jones, Walter Perkins, Vinnie Ruggiero

Vinnie Ruggierio?

Buddy on Basie: "Now, Basie is something else. When you talk about Basie, you're talking about the most loveable, warmest, nicest man in all of my years in the music business. There's nothing I wouldn't do for him. If he called me today and said : "I need you, for this important date," I'd be there. Because I've done it before for him. It's not a big deal; it’s just what this man has represented to me in music all his life. He's a guy with impeccable taste." Basie on Buddy: Dance: Any era when the music is swinging, even today. Basie: Well, there's Buddy...Buddy Rich. He has a lot of swing tunes in the book. And when they turn around and play them, then he has a great swing band. Dance: Is that mostly due to Buddy himself? Basie: As long as the band is swinging, that's it! And here is a example of a Buddy small unit on tour:

Wait until you have some ex-Wives !

One of the best saxophone solos I have ever heard is George Coleman playing Soul Eyes on LIVE AT YOSHI'S.

Boy, there are some unexpected choices here! To play Devil's Advocate.... I saw both Pete La Roca and Kenny Wollenson recently and La Roca's cymbals, which sounded like they were made out of bootleg tin, got in the way of really hearing him. Wollenson was hip and slick as Hell. Ben Riley? This one is a surprise choice. I have always enjoyed him on record and in person. Buddy? He could do so much; he could dazzle and play with a soft swing. Maybe I can dig him more than most because I saw him in so many, many settings. He can be a aquired taste, though. There was not one time that he played a solo or a break that wasn't exciting. Steve Gadd: Gadd gets a bad rap for all of the lame recordings he has been on but again, I've seen him so many times, I can tell you he can be a swinger with taste. You should hear the recording he made with Michelle Petruciani in Tokyo. It would be a revelation. Louis Hayes may not be a innovator but besides his wonderful time on all of those Cannonbal records, I loved the band he had with Woody Shaw. Listen to "Itci-ban"

To confuse the true genius of leadership with the mere explotation of hired hands is so fundamentally wrong as to be both sad and frightening. Do they actually let people who think like that loose in society? ← My point exactly, gentleman. From interview to interview, the point is made from Miles' sidemen that he was the man to look to for direction. Even Bill Evans. Although Miles could be a "good thief", so to speak, he was a creator of the highest order and he could play his ass off.

This is so far off the mark: "his “innovations” were principally in personnel changes and it was the personnel who were principally responsible for the innovations." And that bull that you have to be black and poor to create jazz is demeaning and just plain cruel. Forget about todays artists; What about Duke Ellington?

It just proves my point that this music has no boundries or cliche's any more! Try these. The one on the left is Ari with Michael Leonhart ( left) on a Steely Dan tour and this text is from the SD a fan site, it seems from a few years ago. Now Jim, You have me interested to buy some of his music! Danfans loved Ari's playing with Steely Dan throughout the 1996 Art Crimes World Tour. Ari again lent his awesome musicality to Steely Dan's early 2000 performances in Japan and through the first North American dates. Ari began playing saxophone in junior high school in the Washington D.C. area. While in high school he studied with Dr. George Ross, Andrew White, and Stanley Turrentine, and was the recipient of several outstanding soloist awards at various local and national jazz festivals. During this time Ari performed with area musicians such as Butch Warren, Carter Jefferson, and Tom Williams, and with visiting NY musicians such as Randy Brecker, Billy Hart, Geoff Keezer, and Stanley Turrentine. In 1991, Ari moved to New York City to attend the Manhattan School of Music, where he studied with saxophonist Dick Oatts. During this time, Ari traveled with the Ryan Kisor quintet and played in the NYC area with musicians such as Brad Mehldau, Steve Turre, Peter Erskine, Michael Leonhart, Jon Hendricks and Wynton Marsalis (with David Berger's Jazz Orchestra). After graduating, Ari began performing regularly with the Monday night Village Vanguard Jazz Orchestra and recorded with Michael Leonhart, Evan Marks, George Colligan, and the MSM Jazz Orchestra. In 1998, Ari made his debut recording on the Steeplechase label featuring Billy Hart and Dennis Irwin. Since then and as of this writing, Ari has made four more recordings on Steeplechase featuring Billy Drummond, Jay Anderson, George Colligan, and Jeff Williams. In 2000, Ari performed and traveled with Jane Monheit.

Check to see if they have the Sam Noto - Act One with Joe Romano on tenor. A great recording.

Never heard of him Jim, ; I would ask my buddy, Jay Anderson who has recorded with him but Jay is on a long, long, tour with Joe Sample. It seems that he has toured and recorded with Steely Dan and has been a member of The Vanguard Jazz Orch. Here is a listing of recording by himAri Ambrose. He may be from the D.C. area,but lives in NYC now.

This is a great recording; full of soulful spirit. But the highlited track below, is just so unbelievable deep, it's scary! The real thing. Grant Green guitar Sonny Clark piano Sam Jones bass Art Blakey drums II.1. Airegin [alt.take] (Sonny Rollins) 7:34 II.2. Airegin (Sonny Rollins) 7:32 II.3. Nancy (Silvers-Van Heusen) 6:20 II.4. I Concentrate On You (Cole Porter) 5:40 II.5. The Things We Did Last Summer (Styne-Cahn) 5:54 II.6. The Song Is You (Kern-Hammerstein) 7:44 II.7. It Ain't Necessarily So (Gershwin) 10:20 Blue Note LT-1032 - GRANT GREEN - Nigeria [2,4-7] All other selections are previously unissued. [1,3] 1962.1.31

That is, IMO, his one really great record. I also like his London House records and some of the duets especially the one with Dizzy. I don't know if you ever heard the OSCAR PETERSON JAM, MONTREAUX 1977 where he and Dizzy joust on "Ali and Frazier", that is just blazing! To paraphrase Mel Lewis on Buddy Rich : "he's the best in the world, at what he does ". You just have to dig it in whatever dose that you can handle, and appreciate it for what is is.

Yes, Lee Morgan was Old School; had his own voice at a early age and, dispite his personal problems, continued to evolve.

Lee Morgan was 19 years old. Morgan, Lee (b Philadelphia, PA, July 10, 1938; d New York, February 19, 1972) trumpeter. John Coltrane Sextet Lee Morgan (tp) Curtis Fuller (tb) John Coltrane (ts) Kenny Drew (p) Paul Chambers (b) Philly Joe Jones (d) Rudy Van Gelder Studio, Hackensack, NJ, September 15, 1957 tk.2 Lazy Bird (alt. take) Blue Note CDP 7243 8 53428-2 tk.3 Lazy Bird Blue Note BLP 1577 tk.6 Moment's Notice Blue Note 45-1718, BLP 1577, BST 89903 tk.8 Blue Train (alt. take) Blue Note (J) TOCJ 1601, CDP 7243 8 53428-2 tk.9/8 Blue Train Blue Note 45-1691, BLP 1577, BST2 84429 tk.11 Locomotion Blue Note BLP 1577 tk.12 I'm Old Fashioned - * John Coltrane - Blue Train (Blue Note BLP 1577)

Sorry Jim; Got my three tenors / Trumpeters switched up. It is a good one, though.

That would be A Blowin' Session by Johnny Griffin with: John Coltrane Hank Mobley Lee Morgan Wynton Kelly Paul Chambers Art Blakey

Two places to look: Allaboutjazz Seattle Origin Records

It's a wonderful book; full of detailed information about the man and his music. One of the great aspects of the book is Desmond's strong bond with his father, who was a composer, and the reproduction of their letters to each other through the years. Also, Doug Ramsey's blog site is a nice place to visit on the web:Rifftides

What always has endeared me to PKD was that his main male characters were very human; they almost always were having women problems! The justaposition of the fantastic future material world, and the age old angst of the male character, is always a hoot!

Allen I have a Don Byas Savoy 10" LP (Vol. 2 MG-15043) from about that time.....

In a related vein I have a audio tape of Byas from the Just Jazz Show / Chicago from 1971 with Rufus Reid, Wilbur Campbel and John Young. Included are his introductions in his Dutch accent. Great Music!

Tommy Smith Azure