John L

The discussion on this thread reminds me of a recent conversation I had with a fine American saxophonist who married an Ethiopian woman and is now based in Addis Ababa: Jonovan Cooper. He comes from the Coltrane school but has developed a very individual style that includes Ethiopian influences. When I asked him who his all time favorite saxophonist is, I was a bit surprised that he immediately answered "Cannonball Adderley." He said "Cannonball put so much supreme soulfulness in everything that he did, which is what I strive to do."

Actually, the Billy Berg's material surfaced rather recently, well after Yardbird in Lotusland was released. Shaw Nuff on Yardbird in Lotusland is from a Jubilee broadcast and Salt Peanuts is from an NBC broadcast. There is only a little bit of known recorded Bird from Billy Berg's but the pre-Ornithology How High the Moon is quite beautiful and unique.

Sometimes Cannonball hits the spot like nobody else. That corresponds to who I put in the first tier, somebody who gives you something special that nobody else does. As far as his place in jazz history goes - no, he was not as influential as Coltrane or Rollins. But that is a different question. The greatness of an artist is not just in his or her influence on the development of the art.

Most of it was bootlegged a while back on the "Rare Live Recordings" label, But "Live in LA' would appear to also have a 13:14 Scrapple From the Apple recorded at the ranch at a later date that is not on the bootleg. Other than that, the previously unreleased music is a quartet recording from the Shrine when Bird was apparently dragged to the venue by Teddy Edwards in an almost unconscious state. I haven't heard it yet, but apparently it is some of the worst Bird ever recorded.

This is indeed some amazing music, one of the most exciting releases I've heard in some time. As far as influences, he also sometimes reminds me a bit of Herbie Nichols. But Hasaan is certainly unique!

I am not sure, but I recall hearing even before the Universal Fire that there was no known unreleased Coltrane left in the Impulse! vaults. Coltrane kept a lot of tapes at home, which has been the source of most subsequent releases of previously unreleased Impulse! material.

I think the second Jump Up album was called "Plug It." I didn't care for it either. But some of those Gramavision albums were very good, including Gallery and Again and Again cited above. I also like Impala quite a bit.

Nice that Jupiter Variation is being reissued. That is the only collection that includes "Peace on Earth" without Alices's overdubbing. I didn't even realize that it was on CD before.

Expression has always had a place in my heart as something like the last word from Trane. Some of it is quite beautiful as well. At the time I bought it in the mid-70s, Stellar Regions, the Temple concert, and the Olatunji Concert were still far from being discovered/released. Therefore, for a long time, along with Interstellar Space, Expression was the only real sound picture we had of Trane at the end. It was a distinct picture too. Stellar regions filled out that picture even more. But the Olatunji Concert sort of shattered it, making everything a bit more confusing.

Mike Steven or Mike Stevenot (as in discographies I have seen)? He is rather mysterious, it seems that he didn't make many recordings at all.

Good point about Griffin. I always considered it strange that there were no other known recordings of Johnny Griffin in Europe from 1960. I guess that explains it.

Yes, Bud composed so many good tunes that he probably forgot many of them himself. That is part of the challenge of being a genius.

After You've Gone is identical to the recording on the Vocalion 78 recorded in January, 1937 with Gladys Palmer on vocals. It is a great Little Jazz recording but there is no reason to listen to this version in very poor sound. The second track is Rockin' Chair (not Roy Eldridge, obviously). It sounds familiar but I can't place it.

I don't think it was primarily the rhythm section as Bud was still in great shape for the concert recorded the next day in Geneva with a different rhythm section. He had already cooled down by the time the recently released Copenhagen recordings were made in March, 1962. That is the way Bud seemed to be throughout his career - up and down. What explains the sudden decline into 1954-1956 that was at least partially overcome by 1957? John

Keith Jarrett? I have to say that, while I appreciate a lot of what Keith Jarrett has done, I have never enjoyed his blues playing much.

My favorite pianist for blues might be Little Johnny Jones, but I guess he doesn't play enough notes and keys even to qualify for "jazz-oriented blues pianist." I feel strongly that Count Basie and Thelonious Monk fit the bill for this thread. Both of them were absolutely about the blues, all of the time. Rooster asked a question earlier if there is a jazz pianist who is like Ornette Coleman for the blues in jazz. I would say Thelonious Monk. Like Ornette, Monk came straight from the blues, had a genius in highly unique musical sensibilities, and was able to share it all with us through music. I don't know if Jay McShann has been mentioned yet. He is another great blues player.

You can start with Avery Parrish.

I pre-ordered immediately, but now have an estimated arrival date of November 20.

It was Stanley Turrentine who first sparked my passion for jazz. I was listening to FM "Quiet Storm" radio and Pieces of Dreams came on from the just released Don't Mess With Mr. T album. The big warm sound grabbed me wouldn't let me go. So I bought the record, then several more Stanley Turrentine albums. Before I knew it, I was listening to Coltrane.

Thanks!

You mean So What (4-2-59)? I don't know of any LP or CD with this track. But there may have been a DVD. It was recorded for WCBS-TV https://www.youtube.com/watch?v=3VGp_qBtZbg

Back to the original question, in some ways I think that V.S.O.P. was historically more important than Massey Hall. As has already been noted, the music played at Massey Hall, although very great, was already a decade old at the time. The real historical significance of the recording is probably the fact that (I believe) it is the only recording that we have of Diz, Bird, Bud, and Max all playing together. Diz, Bird, and Bud were also recorded together in 1951, but with Roy Haynes on drums. Mingus in the mix is an added attraction. As far as the historical significance of V.S.O.P. is concerned, I think of it as one of the confirmations in the 70s of the enduring compelling beauty of classic acoustic jazz at a time when all of the individual musicians in the band, except maybe Ron Carter, were pursuing fusion projects. I think that had a real influence on where jazz went in the 1980s, for better or worse.

Thanks, Rooster. Yes, I later saw the other thread. Looks good!

Interesting. Will there be something more with Marsh and Konitz?