king ubu

I can relate to that discussion about "Page One" above. My first was "In 'n' Out" and that one just bursts with power and energy (though I just deleted "forward moving" as I'm not sure it is, might be going in circles really). Still have the old US CD of it, bought from Trueblue, with a white tray (so it's probably yellow by now - how foogly these are!) - years later, "Page One" and "Una Mas" and then "Our Thing" and finally the missing one ("Trompeta Toccata", just had to think for a moment, didn't even remember its title) became accessible again. "Page One" and to a lesser extent "Our Thing" always sounded tame by comparison, while that groove on "Una Mas" was an instant love affair. I've grown to like "Our Thing" quite some, though I still prefer Hill playing his own music by a margin. "Page One" on the other hand is one of those where I actually need to hear it to remember how good it really is. It has a somewhat over-controlled air - but then what Henderson hasn't? that's at the core of his playing, of his tenor mastery, and it makes him the extremely accomplished and deeply fascinating player he is ... and yeah, if you hear ambivalence speaking, you're not mistaken - he's definitely not a personal favourite, but rather a musician that continues to challenge me, and that sometimes puts me off, too, sort of locks me out. But of course that's my problem and I've got to deal with it (or not, but I'm certainly fascinated enough to keep going at it)!

Booby? Some with slipcase I have include the amazing "Groovin' at Smalls' Paradise" by JOS, Kenny Burrell's "Midnight Blue", Tony Williams' "Life Time" ... might have a few more, but the copy of "Song for My Father" I have doesn't include a slipcase. Did they re-press later on without or did the store ditch it (not in the dumper, I hope)?

Would you go for the big one or for the Dvorák only? Not that it makes much of a difference in price, but I don't buy stuff just to clog up shelf space (there's none left anyway) With Moms re: Händel Brilliant box - doesn't really look enticing to me, didn't order ... and won't, I guess (though I do need some more chamber music eventually).

This may be relevant or not, but I'll throw it in. From Joachim E. Berendt's liner notes of Cecil Taylor's Fly! Fly! Fly! Fly! Fly!: "And the evening before the record date, we sat together in the beautiful home of MPS boss H.G. Brunner-Schwer, the first thing he (Cecil) wanted to listen to was Friedrich Gulda playing a piano concerto by Mozart. The records he chose to take along were Johann Sebastian Bach's 'Well Tempered Piano', The Singers Unlimited: 'A capella 3', and Supersax playing Charlie Parker's music." I've learned over the years not to be surprised about anything connected with Cecil. He's a man of surprises. Ha ha, wish they still had those jazz sales going on and I could reconsider and pick up "In Tune" ... but never mind, enough music around. Thanks for sharing though, haven't come around to reading those liners yet.

similar to Horace Parlan? we had this thread about Booger and his one solo a while ago ...

@Jim: that's the one MPS album I've stayed away from ... but "Motions & Emotions" with Claus Ogerman is fun, every once in a while. Not sure which is the album with The Boss Brass (I've so far had zero interest in them).

Not sure Gene Harris is "The Blues Man" in my book ... and playing devil's advocate, he doens't get that reaction because he's simply not an important enough character (similar to, say, Les McCann, in that respect, and I guess in *some* musical respects, too). Anyway, I do enjoy some Harris in small doses, but he doesn't do nearly as much as OP does for me

will Desmond be smoking that hose now or what?

More likely those times note when the two track segue into another composition. That would mean at 19:30 there's a new tune starting in the first track and at 31 something the last part of the second begins.

No, I don't like OP by and large, but for me there are exceptions -- for example, the trio with Ellis, with its neo-big band routines on the Stratford and Concertgebouw albums in particular and the Granz album of Basie material. Peterson himself as a soloist, except when he's channeled by those routines, I usually find mechanical and marked by faux bluesiness -- for me, chunks of too many OP solos, once things get rolling, sound like chunks of most every other OP solo; the recurrence of favorite figures is deadening and his much vaunted swing I often find to be instead grinding and airless. Finally, while there are albums where he energizes other players as an accompanist, the Ellis-Brown trio behind Getz for one, too often (again for me) his comping is leaden, for all its surface energy. A good example is the Harry Edison album "Gee Baby, Ain't I Good To You," which has the same front line, Edison and Ben Webster, that was buoyed to the skies on the album "Sweets" by the rhythm section of Jimmy Rowles, Barney Kessel, Joe Mondragon, and Alvin Stoller. On "Gee Baby" an OP-led rhythm section (with Ray Brown in for Mondragon, but otherwise the same as on "Sweets") virtually sinks the ship. My recollection is that some of the work that OP did for MPS had a different, more Tatumesque flavor and had its moments. I do keep peeking into OP land, though, in the hopes of finding some OP I like, and the album I mentioned in my first post I do like. Thanks for expanding! Can't even say why, or rather what made me make peace with OP, but some day things just felt differently from before, but I can relate from my own past reactions to what you write. Regarding the two Harry Edison albums, I easily agree - "Sweets" is wonderful and Rowles should have been picked as an accompanist far more often anyways, back then (love his work on the Webster/Mulligan sessions, the two disc set is really something!)

@Larry: sorry if I should know ... but do you like OP or not? Is this just one album you stumbled over by chance and seem to like while you wouldn't know several dozens of others and thus - thread title triggers this question - wouldn't really know which of them might suit tastes of those that don't like OP best? The ones that came to my mind upon reading the thread title on the board's homepage were the two on MPS with George Mraz and Ray Price ("Walking the Line", "Another Day", rec. 1970). Not sure who this Ray Price was, never yet investigate, but that trio was great, alas shortlived. Maybe also "Tristeza on Piano", another one on MPS with Sam Jones and Bobby rimshot Durham (also rec. 1970). Those MPS albums are a fine bunch and come in stellar sound (I know the Most Promising Sound reissues by Universal Germany or whoever really produced them). To me, the trio with Ellis/Brown remained mostly impenetrable. Only when I found access to OP's music (via the Brown/Thigpen and Kessel/Brown trios), I started to really dig the Ellis/Brown trio (and somehow I still prefer the Kessel/Brown edition, guess Kessel was the more imaginative guitar player, all in all).

Yup, Chuck was talking of the upcoming one, not of "Kampen". Great that there's so much recent/new Bradford around, guy really deserves it, as far as his playing goes (not saying he doesn't deserve it as a person, I'm not in a position to judge that, but love his playing a lot).

there was this one, too - OOP, very nice rekkid: http://nobusinessrecords.com/NBLP51.php Don't know that Carter or what to expect, but I'm most curious!

With the rest of the masters, we're at around 7 LPs, I guess -- which would leave room for a selection of alternates. I'm not in the market for this, just curious.

10 LPs ... so it can't hold the same amount of music than the 8 CDs did, I assume? Master takes only?

Never caught him live ... and am not that familiar with his big band music, so .... would love to have such memories though!

Well, we don't even know of a release date yet ... but I guess amazon.fr might have the best prices again, as they usually do on these. The first ones start showing up, with cover pics too, but no dates or prices yet: http://www.amazon.fr/Cpte-Black-Saint-Soul-Records/dp/B011MICIHG/ http://www.amazon.fr/Black-Saint-Soul-Note-Records/dp/B011MICBTQ/ Thought last time I looked some had prices allotted, but not now.

yes, the music came as quite a surprise to me - very, very good!

Quite some! But I guess I dig any chance to hear Billy Mitchell in a small group setting. And that long drum solo by Frank Butler is exceptional, just as his playing in general is - beats me why he's not better known, he's such a fine musician!

Yes indeed, masters only alas - but still lots of music I haven't been able to get so far. And it's rather nicely done, alike their Felsted set (not the cheaper one on five discs by some other PD label but the Freshsound one ... though the cheaper offers more or less the same information/reprint of original liners, I think).

Agreed. As far as I'm aware, she only provided some details about the live recording with Warne Marsh (where his heirs were involved in clearing the recording for release - alas download only as well, but well worth it). Though the other point (I think she told some of that story about the Tampa album?) is: even if there's legal stuff around and even if she might be infringing it: did the label behave correctly, pay royalties etc? As far as the Tampa album goes, it seems the answer is no. So where does that leave us? At the point of giving up and not releasing anything anymore because you can't get it right once it's (or you'd) been wronged? And what about other sidemen and their heirs (I'm weary of heirs anyway, I think in general that 50 year thing in place over here is perfectly sound -- wife and kids, alright, certainly, but all others, no thank you, go and earn your living please). Assuming though sidemen were agreed a one-off fee at the session and no further rights/royalties, that shouldn't be much of an issue?

Yeah, "Duke Dreams" is the one I've scored on vinyl and it's wonderful indeed!

52€ at amazon.it when checking out (shipping to be added, not for me though - too good to pass up, although I'd prefer to have it all with the presentation of the old Japanese series)

For me, at least, the Pike is a nay. The miking somehow picks up Pike's "chanting" to a level where it competes with the instrument. Perhaps not a problem for some, but I find it disturbing. And while it could have been refreshing to hear Bill Evans on up-tempo material in a non-trio context I find his contributions to be far below, for example, the George Russell "N.Y." album (which admittedly is tremendous). It may be ten years since I actually listened to the album. I might try it in the car tonight when I'm going to the recycling station. The Burton is better in my opinion, but ultimately more enjoyable for Jim Hall's playing than Burton's, who I believe still was in his teens. Nothing really sticks out that would make me want to pull this album from the shelf. ha ha ... actually I have a couw burn of the Pike - but rather than leaving at the recycling station I'd pass it on to a friend Thanks everyone for the feedback so far!

Guess we should really have separate threads for those that want to know what rare albums are part of these series ... stuff gets buried so fast in these BluSpec vs. SACD vs. whatever discussions I keep losing track Some albums I'd be interested in include these: Lenny Hambro: Message from HambroLenny Hambro: Nature of ThingsDave Pike: Pike's PeakGary Burton: New Vibe Man in TownGary Burton: Something's Coming!Dave Brubeck: JackpotDave Brubeck: In AmsterdamTeddy Wilson: Mr. WilsonTeddy Wilson: And Then They WroteMonica Zetterlund: The Lost Tapes at Bell Sound Studios NYCKimiko Kasai: Thanks DearKimiko Kasai: Tokyo SpecialKimiko Kasai: In PersonCharles Lloyd: NirvanaCharles Lloyd: DiscoveryCurtis Fuller: South American Cookin'Curtis Fuller: The Magnificent Trombone of Curtis FullerRay Bryant: Little SusieCharlie Rouse/Seldon Powell: We Paid Our DuesAny yays and nays? I enjoy Verve period Wilson quite some, gather these two would be similar? As for Rouse/Powell, I've got the Epic/US/whatever reissue of "Yeah.", so I think only the Powell half would be new to me ... worth it? And then Kimiko Kasai ... all I know is the album she made with Herbie Hancoc - how do these three compare?