king ubu

Red, I'll do my best. Just ordered the 4CD hatOLOGY Waldron/Lacy reissue as a gift for a friend ubu

in my eyes, this record, simply put, is a "classic" (whatever we EXACTLY mean with this term...) - and Chuck: I'm what you could consider a youngster (age 24). So there might still be a glimpse of hope for Waldron getting some of his due. ubu

I got a Selmer Super Action II (got it new some 4 or 5 years ago) and play a metal Link 5* mouthpiece with 4 Vandoren V16 reeds since more than 3 years now. Before that I used a rubber mouthpiece, too, but can't remember what it was. My combination gives me sort of a fat sound, good in the lower register, maybe a little thin up above. And this combination requires quite a bit of air - but I love it. Anyway, as Jim said, I might sound the same if I still used that old rubber mouthpiece... And you can read everywhere about saxophone players and their mouthpiece/reed combinations. You might find some *experts* telling you it is impossible to find the perfect combination and bla bla bla. Don't give a s**t for what they say! ubu

How was his playing then? He was in a group that included Nathan Davis and Larry Young. This was pretty exciting music. Nathan Davis was the main man in the group. Woody Shaw already was a great improviser with a neat sound. They were playing at the 'Chat Qui Peche' club that is now a greek restaurant. I don't recall having heard Larry Young play organ while he was in Paris. Thanks! Wish I had been able to hear him live. you should look for this Nathan Davis CD This might give an impression of how Woody sounded in these days... not that I was able to hear that (as I was born some fifteen years later), but the first part of this disc is great. The second album included features Carmell Jones and Francy Boland (of the KCFBBB). The CD is OOP, but maybe you can find it somewhere. and Berigan: thanks for the interview (a little late, but nevertheless)! ubu

This would be a very nice one! Never heard any of these records! And how about a complete set of the Hardman/McLean/Griffin Messengers. They recorded for Bethlehem, RCA, Savoy and some other labels. I think they generally were a little bit better than usually thought. Griffin does some bad solos on the Bethlehem album, for instance. ubu

I saw "The man with the golden arm" recently. Quite a good movie, and Sinatra was very convincing, in my eyes. And a very nice soundtrack, but I have no idea whether this was reissued. Then how about "Shadows" there's some very nice Shafi Hadi solos there! And probably more was recorded than what we hear in the movie? Was this on CD (or on LP)? And concerning the Thompson/Jackson Savoy recordings, we might have to wait for the revamped Savoy to do something. If they make a nice care package (in line with the Bird 8CD) and no strange keepnews-ian ideas/omissions, I would not be opposed at all! And Woody Shaw's "Stepping Stones" session might not be issued except *if* Sony/Legacy will do it, I guess. Would love to hear all of that, of course, the LP is very good, indeed! ubu

This is a favorite of mine. What a great band! I like the pairing of Booker and Dolphy very much - the make for a good contrast. Besides, "Fire Waltz" is one of the best of the many Waldron compositions, in my opinion. Then I like Ron Carter very much, on cello as on bass (but primarily as a sideman), and Charli Persip is one of the truly great unheralded drummers of the era, another personal favorite. Had no chance yet to listen to it, but I'll try to tonight. ubu

AMG Boo Boo's Birthday if this link is of any value - it seems he never did Boo Boo's Birthday before. Of the other (not-Monk) versions I only know Joe Henderson's, and it's a great tune on a great record, in my opinion. ubu

Yes! Give us more John Lewis! And this could include Mike Zwerin's "Sextet of Orchestra USA plays the theatre songs of Kurt Weill", too (this was recently discussed in the Dolphy sideman thread) and, indeed the world's ready for more Jimmy Giuffre! Seems he's unable to play now for several years already. Would be a nice tribute while he's still around! ubu

another Costa fan here. How about a "Complete Eddie Costa Recordings" Mosaic? I know it might be impossible, but what would have to be in there? The Mode, the recent VEE, how much more is there? ubu

Bruce: back in the old board's days, I mailed Mosaic about Dizzy Reece and Clifford Jordan and got the following reply: "Dizzy Reece and Clifford Jordan are on the list! Thanks, MC" hope he's true about this! Would love to see them on Mosaic, too! And would love a Farlow/Costa set. How many records are there? I only know "This Is" and "Swingin' Guitar of" and they're of course both marvellous! ubu

Count Basie's RCA recordings

They look interesting, brownie! The only one I know is the (very good!) 1964 big band concert (got it on a Charly LeJazz disc). ubu

that's good news! I love the Columbia Monk reissues a lot, too! Keepnews doing a good job, for once I have not bough the still widely available french Columbia CDs of these, waiting for the "real" ones to come. Love the Monk comp 3CD, too, although I think most unissued material from there will resurface on the upcoming single reissues. ubu

Another sad news - what a wonderful sound he had ubu

Cannonball Adderley, self-titled, Julian "Cannonball" Adderley, alto sax James Cleveland, trombone Jerome Richardson, tenor sax Cecil Payne, baritone sax Nat Adderley, trumpet J.J. Johnson, trombone Paul Chambers, bass John Williams, piano Max Roach, Kenny Clarke, drums. CANNONBALL WILLOWS EVERGLADE CYNTHIA'S IN LOVE THE SONG IS YOU HURRICANE CONNIE PURPLE SHADES ROSE ROOM FALLEN FEATHERS YOU'D BE SO NICE TO COME HOME TO Recorded July and August 1955 at Capitol Studios, New York City: tracks 4-7 on July 21; tracks 1, 3, and 10 on July 29; tracks 2, 8, and 9 on August 5 *********** and here are Leonard Feather's liner notes: *********** New stars are a dime a dozen in jazz nowadays. Every sixteen bars or so, somebody comes along who is hailed as the next this or the coming that, and in no more time than it takes to sign his name to a record contract, presto! he is the Star of his own LP. New stars of the caliber of Cannonball, however, are by no means a dime a dozen. This much was obvious almost from the moment he got off the train from Florida. Before we go any further it might be as well to explain that Cannonball's nickname has no bearing, except perhaps a coincidental one, on the dynamic manner in which he projects his musical thoughts through his alto saxophone. The name derived originally from "cannibal," an honorific title imposed on him by high school colleagues as a tribute to his vast eating capacity. (When you see Cannonball you will observe that his appetite clearly has not diminished). As far as his family is concerned Cannonball is Julian Adderley, born September 15, 1928 in Tampa, Florida. Studying music at high school and college in Tallahassee from 1940 to '48, he became proficient on trumpet, later on alto, clarinet, tenor and flute. Everybody in the Adderley family is musically inclined. Julian and his brother Nat, who plays trumpet on these sides, enjoyed a period of juvenile glory as boy sopranos. Their father, a jazz cornetist, and an old college roommate of his by the name of Kirksey who became a band director in Florida, were the major influences on the younger Adderleys. Julian himself became band director at Dillard High School in Fort Lauderdale in 1948. He has remained there almost continuously, with time out for a period in the service and for further studies of reed instruments at the U.S. Naval School of Music in Washington in 1952. As side ventures during his tenure at Dillard, he has had his own group off and on since 1948. While in the Army in 1952 to '53 he led both a large dance band and a small combo. In the summer of 1955 Cannonball came to New York. On the night after his arrival he and Nat visited the Café Bohemia in Greenwich Village, where Oscar Pettiford was leading a small group in which the tenor player was Jerome Richardson, whom you will hear on these sides with Cannonball. Richardson happened to show-up late that night, so Pettiford, who knew little about Cannonball and was not too anxious to take a chance, grudgingly allowed him to sit in. Pettiford whipped the band into I'll Remember April at a racehorse pace, fully expecting to chase an embarrassed Cannonball off the bandstand. Cannon-ball, of course, sailed through a long solo with an equanimity that astonished everybody. As you might expect, he remained on the stand as a welcome guest for the rest of the night. Within a few days word about Cannonball had spread around town. On the recommendation of Quincy Jones and Clark Terry, Bob Shad of EmArcy took the unprecedented step of signing Cannonball to an exclusive contract without ever having heard him play. The performances on these sides, for which Quincy wrote the arrangements, took place at three sessions held in New York City. At the first date, on July 21, 1955, the personnel included Cannonball on alto, his brother Nat Adderley on trumpet, Jerome Richardson on tenor, Cecil Payne on baritone, Jimmy Cleveland on trombone, John Williams on piano, Kenny Clarke on drums and Paul Chambers on bass. At this session the numbers recorded were The Song is You, Cynthia's in Love, Hurricane Connie, and an old pop song called Purple Shades. At the second date, held July 29, the same personnel was used except that J. J. Johnson replaced Cleveland. The tunes cut were Cannonball, written by Julian; Nat's Everglades; and You'd Be So Nice To Come Home To. On the third session, recorded August 5, a second personnel change was made: Max Roach replaced Clarke, J. J. was still on trombone and the rest of the men were the same. This date produced Willows, an old standard tune; Fallen Feathers, a Quincy Jones original inspired by a famous CharlieParker solo; and Rose Room. I believe that in the course of listening to these ten performances you will derive a clear picture of the magnitude and flexibility of Cannonball's talent. On a casual first hearing, particularly if you happen to listen to one of the faster tunes, you may get the impression that he sounds like Charlie Parker. Up to a point you would be right; but if you were to claim that a new ball player hit the way Jackie Robinson used to, or that a new speaker you heard at a banquet reminded you of the way F.D.R. spoke English, would any derogation, any implication of lack of originality be implied? Is there any better way of doing any job than the best way? Cannonball sounds like Parker only to the same extent that any two other artists in any other field might similarly be compared. Like F.D.R. and the speaker at the banquet, you could say that Parker and Cannonball both spoke the same language. Cannonball's favorite alto men are Charlie Parker and Benny Carter. That the peerless Benny made an impression on him that is still reflected in his work can be heard by close study of the several slow tempo numbers in this set. It would be hard to select any one item as a complete demonstration of Cannonball's talent, but my personal choice would be the number that bears his name as its title-on which, by the way, Nat also delivers what is probably his most impressive solo in the entire set. With occasional notable exceptions such as the late Fats Navarro, Florida has not made a large contribution to jazz history. This gap in our culture may be said to have been filled substantially by the arrival of Cannonball; and after hearing these sides there can't be much doubt in anybody's mind that he has indeed arrived. I wonder whether those young students at Dillard High know just how lucky they are. Liner Notes by Leonard Feather. *********** ubu

the link below gives you the information needed. It's one of the nonet albums, not part of the Emarcy 2CD: Verve Adderley and here you'll find more on Cannon: Cannonball Adderley ubu

two more nice ones (after, of course, The Fox and the Clifford-Brown-Max-Roach-Quintet): Art Farmer, Live at Stanford Jazz Workshop, 1997 (Monarch), with the solid rhythm section of the unheralded Bill Bell, Rufus Reid and Albert Heath Philly Joe Jones, Drum Songs, 1978 (a recent Fantasy/Milestone twofer including Drum Song and Advance), with Blue Mitchell (his last date?), Slide Hampton, Charles Bowen, Land, Walton and Marc Johnson ubu

thanks, brownie. I listened to some of H.U.M. and did like it! Will get hold of it when money allows ubu

one for brownie? on the universal France website, 4 cds by René Urtreger are listed (see link below) Universal France They seem to look very nice, with solo, quartet and quintet recordings from 1977, 1980, 1985 and 1987, with players like Jean-Louis Chautemps, Jean-Louis Viale, NHOP, Christian Escoudé, André Ceccarelli, Aldo Romano, Jean-François Jenny-Clark. Anyone knows them? Can recommend one or all of them? (brownie?...) ubu

this is another link: Universal Music France - Sacha Distel ubu

Thanks, brownie! I got all 7, so no need to buy more. ubu

does this include exatly the same stuff as the 7 single volumes? or any additional material, so we need to have the box, too? and yes, that Slide Hampton disc is a marvel! ubu

Not yet, brownie (I counted them yesterday and I got even more than half of'em!), but I plan on picking up some more of these. I like Urtreger but hardly know Pfeiffer (except from some appearances as a sideman). Thanks for your recommendation (and still grateful for you pointing me to that Chet Baker disc)! ubu

I love many of the mentioned sessions, of course all the stuff with Coltrane, Ornette's Free Jazz, Ezz-thetic might be my favorite Russell session, The Quest is one of the highlights of the Dolphy Prestige box in my opinion, Where is a very nice session, too, and I love the one with Ken McIntyre, I had not heard McIntyre when I got the Dolphy box, and love all that I've heard him play yet..., the sessions with Roach and Booker Little might be among the best ones Dolphy ever took part in, and the Hamilton Ellington Suite was a real find! And then here comes a hearty recommendation for the "Mack the Knife" Weill disc. I love it! Dolphy is incredible, a great fit for the band, which actually is in quite a stiff groove, which Dolphy tears up with his soaring playing (check his bass clarinet solo on the first track of the CD!). Then, as far as John Lewis is concerned, I have not dug deeply into his music, knowing only a few scattered discs of his and some early sideman appearances with Bird, but he plays great on the Mack the Knife session with Dolphy! ubu