marcello

He had a unique way of holding his guitar with it slung chest high over his right shoulder only, like some sort of gun slinger. Last time I saw him was with Jack McDuff ( with the great Joe Dukes on drums) in the early '90's. He slashed & burned! I also saw that band with Rich, McGriff, Jacquet and Freeman. That's george on the right: Here's a radio interview: INTERVIEW

Larry, the Parker and Gillespie excerpts were from the 50's, but the Monk was from his obituary piece of Monk in '82. Like all writers, WB has his excesses, and his favorites are from the Swing Era. That said, he has gone out of his way to investigate ( and sometimers praise ) those in the New Wave including Cecil Taylor, Roswell Rudd, Air, Braxton etc., so he has been more open than most and usually fair. I remember that he once called Chuch Mangione " the Harry James of the 70's"; a nice turn of a phrase. I like Gene Lees also until he goes way overboard in praise with Canadian talent. If you've spent as much time as someone like me has in Toronto, you learn to forgive that. Canadians can be patriotic to the point of fanaticism. But Lees writes from the heart.

But tone never was. Even the earliest Rollins, where he sounds like the horn can't handle his energy (not the other way around) Now that's a perfect description!

Do you take this as a negative, like WB? No, and I don't feel that WB took it that way also. It was just his description.

Larry, with all due respect, I think you have Balliett wrong. Here he is on Parker: Parker had a unique tone; no other saxophonist has achieved as human a sound. It could be edgy, and even sharp.... It could be smooth and big and sombre. It could be soft and buzzing. Unlike most saxophonists of his time, who took their cue from Coleman Hawkins, he used almost no vibrato; when he did, it was only a flutter, a murmur. The blues lived in every room of his style, and he was one of the most striking and affecting blues improvisers we have had. His slow blues had a preaching, admonitory quality. He would begin a solo with a purposely stuttering four-or-five-note announcement, pause for effect, repeat the phrase, bending its last note into silence, and then turn the phrase around backward and abruptly slip sidewise into double time, zigzag up the scale, circle around quickly at the top, and plummet down, the notes falling somewhere between silence and sound. On Gillespie' stlye in the 40's: Few trumpeters have ever been blessed with so much technique. Gillespie never merely started a solo; he erupted into it. . . . [He] would hurl himself into the break, after a split-second pause with a couple of hundred notes that cork-screwed through several octaves, sometimes in triple time, and were carried in one breath, past the end of the break and well into the solo itself. . . . Gillespie’s style at the time gave the impression—with its sharp, slightly acid tone, its cleavered phrase endings, its efflorescence of notes, and its bran- dishings about in the upper register—of being constantly on the verge of flying apart. However, his playing was held together by his extraordinary rhythmic sense. On Monk: His compositions and his playing were of a piece. His improvisations were molten Monk compositions, and his compositions were frozen Monk improvisations. His medium- and up-tempo tunes are stop-and-go rhythmic structures. Their melodic lines, which often hinge on flatted notes, tend to be spare and direct, but they are written with strangely placed rests and unexpected accents. They move irregularly through sudden intervals and ritards and broken rhythms. His balladlike tunes are altogether different. They are art songs, which move slowly and three-dimensionally. They are carved sound. (Monk's song titles -- "Crepuscule with Nellie," "Epistrophy," "Ruby, My Dear," "Well You Needn't," "Rhythm-a-ning," "Hackensack" -- are as striking as the songs themselves. But none beat his extraordinary name, Thelonious Sphere Monk, which surpasses such euphonies as Stringfellow Barr and Twyla Tharp.) His improvisations were attempts to disguise his love of melody. He clothed whatever he played with spindly runs, flatted notes, flatted chords, repeated single notes, yawning silences, and zigzag rhythms. Sometimes he pounded the keyboard with his right elbow. His style protected him not only from his love of melody but from his love of the older pianists he grew out of -- Duke Ellington and the stride pianists. All peered out from inside his solos, but he let them escape only as parody. Taking things in historical perspective, Rollinf tone was harsh, and maybe ugly, in the 50's. His tone on those Vanguard records is about as smooth as rough granite.

This one too: Love Bug Reuben Wilson (1969) If I remember right, there is also one with Don Patterson Also his ex-wife, Gloria Coleman is/was a organist, but I don't belive they recorded together.

There is this one also: LEAN ON ME (1972) Shirley Scott 1972 J. Daniel Turner (f,as); George Coleman (ts); Shirley Scott (org); Roland Prince (g); Idris Muhammad (d). a. (2298) Smile (J. Turner/G. Parsons/C. Chaplin) - 5:34 b. (2299) You Can't Mess Around With Love (Shirley Scott) - 5:54 c. (2300) By The Time I Get To Phoenix (J. Webb) - 8:29 d. (2301) Funky Blues (aka Funky Blue) (Shirley Scott) - 8:33 e. (2302) How Insensitive (N. Gimbel/C.A. (sic) Jobim) - 8:54 f. (2303) Lean On Me (Bill Withers) - 4:50 g. (2304) Royal Love (Shirley Scott) 5:10 h. (2305) Carla's Dance (Shirley Scott) - 5:08 Cadet CA-50025.

More:

Thanks - I see he was on Pucho's "Hideout" - I like his playing on that. (And on "Mucho Pucho" I now see.) I also love the photo of the Pythodd Room, I guess in the 60s sometime. So how come Wynton was sitting at the table (front right) and Grant Green was playing drums? MG

I have that one; I'll have to give it another listen.

No, the show wasn't recorded. It was a outdoor community event from a couple of years ago ( The Clarissa Street Reunion) in Rochester, NY. Rochester is Joe's hometown and about 70 miles from Buffalo ( Lonnie's hometown). Joe and Lonnie are old friends. Lonnie used to play in Rochester all the times in the old days ( before the turban), and Clarissa Street housed the infamous Pythodd Room. The other players were Rochester locals. After the concert ( where people from the neighborhood danced in front of the stage), a rather well lubricated fellow and his wife came up to Joe and said " I told my wife when you see a maotherfukcin' xylophone up on a stage, you're goin' to hear some motherfuckin' music!". A photo of the old Pythodd Room: Joe has recorded over 25 sessions as a leader and over almost 100 as a sideman since 1977. Joe Locke The Joe Locke Discography by Noal Cohen Her's another:

Locke & Lonnie

I think they're wrong on this one: Airto "eye-air-toe" I remember seeing him live many years ago, and he explained his name by pointing to his 'eye', 'ear' and 'toe'. How about his last name? (Moreira) To add more proof: Many years ago I saw a Soul Train show that had a Quincy Jones band that had Airto in it and, for some reason, another band with Nat Adderley. When Quincy introduced the band to Don Cornelius, he turned to Airto and and pointed to his eye, ear and toe and said " Eye, ear, toe,... right?". Then Cornelius turned to Nat and said, pointing to Quincy ,"What do you think of this guy?" Nat said: "He's a theif; but a good theif".

CD Universe is my choice. I would use this forum as a portal to buy music. I just sent you some $ for the cause. Thanks Jim, for everything.

Thanks Ron, I'll put that one on my must buy list!

Sorry, but everybody has a cross to bear. His may be heavier than most, but it's his, and by marriage, hers.

No disrespect to you Bruce, but again, you have to put the child first. Saving them from any further turmoil or ugliness is well worth the money or other satisfactions. When you have been through one of these scenes, you quiclky realize this; at least I hope you do. And that takes balls.

Joe Locke is a old and dear friend. In this millenium, he's the Master. Here's his website: Joe Locke

There ya go Jim! You have to stand up and lift your burdens on your shoulders; like a Man. And ultimately, put the children first; it's never their fault.

Just checked my LP and it looks early Liberty with 'Van Gelder' and no ear, mono copy. 1966 inner sleeve so seems to line up with the above. In fact "real" BN copies of this title - meaning being manufactured at the Plastylite pressing plant - do not (seem to) exist; the first copies date from the "Liberty-era". What might be confusing though, is that these first pressings still have Blue Note USA - and not Liberty - labels (but no ear). This is not unique for this title, as Blue Note kept using older labels - sometimes even w/Lexington address - during the Liberty era. Anyway, Liberty or not, the vinyl edition of Dippin' does sound great! This thread inspired me to transfer mine to cdr. Mine is a Blue Note - Stereo - 43 West 61st Street. "The Break Through" is great as well is the ballad "I See Your Face Before Me"

I used to have the Live at the Hollywood Bowl Lp. Not anymore. See this link: Doug Payne - CTI Sessions

That's how I remember his of his sound also. The band I saw, on several nights at the Vanguard, included Jimmy Lyons, David S. Ware and Marc Edwards.

You know Jim, I saw the band many times but the only vocalist I can remember is Ricks and once, Dennis Rowland.

Inspired by a recent thread; mine is in stereo:

This would be the usual reason why, Peter; to have newly recorded versions where the publishing is not shared under a old deal. Sometimes with a slightly new arangement.