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Paul Chambers-Wynton Kelly


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Koch Jazz has re-issues of Wayning Moments and Introducing Wayne Shorter, same track sequence as above, and they're reasonably priced. (And no, I DON'T own stock in the company!)

However you do it, you should own copies of "Blues A La Carte," "Wayning Moments," and "Harry's Last Stand."

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I also don't like the Strozier session, as he can't play in tune -a requirement for a musician, surely.

Gee, I don't know. Maybe for a symphony or studio musician, but I'm not sure it's a necessity for a jazz musician. This topic probably deserves its own thread. Now I will admit that Strozier is far from my favorite alto player (I have this session), but Jackie McLean is one of my favorites, and nobody ever accused Jackie of playing in tune. In fact, it's his wayward pitch which makes his alto sound so personal. I love it. To stay with altoists, I 'm not sure Art Pepper's playing

(especially after his comeback) was in always in tune, either. But I wouldn't get rid of any of it.

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There's some nice comments by Jackie about his own playing (and the whole in tune thing) in the liners for the new RVG of LET FREEDOM RING. These liners are superb and give the lie to the recent flurry of posts that accuse Bob Blumenthal of going through the motions in his RVG notes.

Anyway, as Jackie puts it, he basically hears things differently and is "a sugar-free player," as good a description of his sound as any I've heard.

So don't believe for a minute that just because a jazz player sounds a bit "off pitch" that it may not be an intentional thing they're fully cognizant of.

Not to mention that I actually don't hear any intonation or pitch problems with Strozier's playing and I'm pretty sensitive to that kind of thing (it bothers me in the playing of some others where I don't think it's intentional, based on context and variability from tune to tune, but more limitation in ability, say for someone like Sonny Red).

Edited by DrJ
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There's some nice comments by Jackie about his own playing (and the whole in tune thing) in the liners for the new RVG of LET FREEDOM RING. These liners are superb and give the lie to the recent flurry of posts that accuse Bob Blumenthal of going through the motions in his RVG notes.

Anyway, as Jackie puts it, he basically hears things differently and is "a sugar-free player," as good a description of his sound as any I've heard.

Yes, LFR is a great session, and Bob's notes are good on this one. I love the little story where Jackie talks about how Hank Jones would tune him up before a gig. Jackie would play and A, Hank a B, and they'd be off and running, as close to being "in tune" as possbile.

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Well, I've agonised over this all week...the Pepper/Byrd? or the Jones, the Pepper/Byrd? or the Jones. Anyway that Goofy figure on my shoulder with the horns and a tail (remember the old Disney cartoon?) got the upper hand and I just ordered both!!! He convinced me that I'd save on postage!

Very much looking forward to these. The Chambers Select has had me on a field trip through the Blue Note recordings I have, many not played for a while, and its been enormous fun. Just discovered the joys of 'Hub Tones' this evening which I've had but not really paid great attention too over the years. Wonderful music.

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  • 1 year later...

Arrrggg. Didn't know this was in danger of going OOP. Logged onto Mosaic tonight so I could order it and was horrified to notice it wasn't on there. Ugggg. I had been waiting for some extra bread.

Noticed a completed auction on EBAY for 200 plus bucks.

I had no idea this think was moving that fast. I know it's been around a while, but thought it wasn't "sexy" enough for most and would languish on the mosaic shelves awhile.

Oh well, just goes to show....

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Bev,

Besides those mentioned involving Wynton, you may want to check out a couple of cds that were issued by Fresh Sounds from the Left Bank:  The Wynton Kelly Trio Live at the Left Bank (with Hank Mobley), Catalogue Number 1031, and same title but with George Coleman, Catalogue Number 1032.

Brad,

I may have just posted a question on another board and you may have answered it - the Wynton Kelly you speak of released on Fresh Sounds, with Hank Mobley - is this it:

Famous Ballroom", Baltimore, MD, November 12, 1967

On a Clear Day / Interlude Vee-Jay [J] 25YD 1092/93

Hackensack -

On Green Dolphin Street -

Milestones -

If You Could See Me Now -

Speak Low / Theme -

* Interpretation's by the Wynton Kelly Quartet (Vee-Jay [J] 25YD 1092/93)

Any comments? I'm ready to buy today, if this is actually available.

Tks,

Marla

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Bev,

Besides those mentioned involving Wynton, you may want to check out a couple of cds that were issued by Fresh Sounds from the Left Bank:  The Wynton Kelly Trio Live at the Left Bank (with Hank Mobley), Catalogue Number 1031, and same title but with George Coleman, Catalogue Number 1032.

Brad,

I may have just posted a question on another board and you may have answered it - the Wynton Kelly you speak of released on Fresh Sounds, with Hank Mobley - is this it:

Famous Ballroom", Baltimore, MD, November 12, 1967

On a Clear Day / Interlude Vee-Jay [J] 25YD 1092/93

Hackensack -

On Green Dolphin Street -

Milestones -

If You Could See Me Now -

Speak Low / Theme -

* Interpretation's by the Wynton Kelly Quartet (Vee-Jay [J] 25YD 1092/93)

Any comments? I'm ready to buy today, if this is actually available.

Tks,

Marla

This is available on Fresh Sounds FSCD 1031, a two CD set issued in 2000. This 2 disc set is the most complete version of this material I've found. Sound is very good. Surprisingly good. Hank seems to go off mike every now & then... not too often though. I just spun it this afternoon and Hank only seems to miss the mike on a couple of ocassions and it might even be the recording "engineer".

BTW, I also had the Fresh Sounds 2 CD set of George Coleman with the Kelly trio and I dumped it. If my memory isn't failing me, the sound is a lot worse on that one.

Later,

Kevin

EDIT: Updated my review of the sound.

Edited by Kevin Bresnahan
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Thanks, Kevin. The only place I've found this so far (and now I'll go back and see if it is a 2 CD set) is at Crazy Jazz in the U.K. Also, thanks for your thoughts on the sound quality, too.

Marla

Marla, Stereo Jack has/can get this 2 CD set. That's where I got mine. Just ask Jack to special order it. It was under $20 for the set.

Kevin

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Thanks, Kevin.  The only place I've found this so far (and now I'll go back and see if it is a 2 CD set) is at Crazy Jazz in the U.K.  Also, thanks for your thoughts on the sound quality, too. 

Marla

Marla, Stereo Jack has/can get this 2 CD set. That's where I got mine. Just ask Jack to special order it. It was under $20 for the set.

Kevin

HI Kevin,

Thanks...will call Jack today and ask him to special order.

You are a wealth of information!

Thanks,

Marla

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Thanks, Kevin. The only place I've found this so far (and now I'll go back and see if it is a 2 CD set) is at Crazy Jazz in the U.K. Also, thanks for your thoughts on the sound quality, too.

Marla

Marla,

Just saw your question. My computer was on the fritz this weekend so I didn't get too much time. I'm glad Kevin answered your question. The George Coleman is pretty nice too. If you can't find it, why don't you pm me.

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  • 2 years later...

Bumping this thread up and bringing it back on topic, too...

I felt like playing the Chambers parts of this set this morning, and by now I'm into the album with Lateef, Fuller & Tommy Turrentine at the end of disc 2, "1st Bassman" - excellent! Lateef just kills!

As for the first album ("Go"), there are three sessions, almost two discs full (the album with Lateef is very short, just half an hour) and indeed they could have omitted a few of the alternates. Cannonball is nice (I like him a lot), but Hubbard doesn't do that much for me here... strange thing and definitely opposing general opinions, I find Tommy Turrentine's solos on the "1st Bassman" album to be of quite a bit more interest!

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On to "Kelly Great" - wow! Philly Joe is smokin' it up here!

Lee Morgan does kind of a Miles imitation, it seems, but after a few bars (talking #2 now) his sound gets harder and fuller and gets a brilliance (although it's muted) that Miles would have never gotten around that time ('59). Shorter is great as well - very distinctive from all the other tenors of that time (but then I think that's what made him the stand-out musician he still is...)

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Those Chambers albums are indeed great. I remember how excited I was when those Blue Moon issues came out (a few years prior to the Mosaic) because I had been reading about those sessions and wanting to hear them.

I get where you're coming from with Freddie on Go, he just doesn't seem to gel like the rest of the group. However, that session is so smokin' and everyone else on that date is in the groove, I can deal with Hubbard. Always thought it was amazing that this album was recorded on the same day (same studio?) as the Cannonball & Coltrane album which is another favorite of mine from my early days of discovering jazz.

I remember not being overly thrilled with the Lateef album the first time I heard it...but I revisited it later and now I love it.

Wayne on Kelly Great...all I can say is :crazy::blink::wacko:;):tup

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It's just one of the three "Go" sessions that was done the same day as the "Cannonball Adderly Quintet in Chicago" (aka "Cannonball & Coltrane"), but still it's indeed pretty much beyond grasp to do all that in one day!

Now I'm getting towards the end of the Strozier dates - very fine sessions! Little and Strozier are much in the centre of attention here, but the great rhythm section of Kelly-Chambers-Cobb gives them a tremendous lift!

Will take a detour to play the Strozier stuff I have now, instead of continuing with discs 5 & 6 (those trio dates again have a bit too many alternates... but this doesn't bother me much with the Strozier material, by the way!)

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