John Tapscott

Bob Brookmeyer

In some 32 years of listening to and collecting jazz I had never heard this session - until today! (Well, you can't listen to everything, right?) But this is a great session. If you've never heard it, please don't wait as long as I did.

ESP for me.

Matt Wilson

Lon, I agree. Unlike most big band albums the charts are not the focus here and I was a bit surprised at that when I first heard it. Everything is really opened up for the soloists to do their thing. Sort of like JATP for a big band. But when you accept it for what it is, then you can really dig it, because the soloists (esp. Smulyan on baritone!) are cooking. And the thing swings hard at every tempo.

I don't know how many of you have heard it, but man, this CD by Danny D'Imperio is one smokin' disc. I've been really digging it over the past couple of days along with Lee Morgan Live at the Lighthouse. I know Danny is a member of this forum under some name, so congrats. Danny - I hope there's more to come. In the meantime, I highly recommend this one.

Mulgrew Miller

The Count (well, that's two). Hank Bags JJ Fatha Bud (for me at least, that would be the one and only Bud Powell) Buddy (for the drummin' man) Hamp Fats Cannonball

Things are Getting Better on Pablo, a date JJ co-led with Al Grey. Also, have to concur with Getz at the Opera House, the Village Vanguard CD's, and the Columbia recordings (now on Mosaic). Though JJ never made a bad record I never cared too much for Tangence. Robert Farnon is a great writer, but not for jazz, IMHO.

Reg: I share your love for this CD. Gillespiana is one of my very favorite Diz recordings, perhaps THE favorite. (But there are so many great Gillespie recordings, please don't ask me to choose just one!).

Absolutely it's still performing. There have been some changes in personnel since the Trend/Discovery years but the performance level is just as high as ever and Bob's arrangements are as hard swinging and powerful and interesting as ever. The recordings Brownie mentions are avialable as CD's (or were). If you're looking to dip your toe in the Bob Florence ocean, try to get hold of the CD called Jewels which is a compilation of the Trend/Discovery recordings. I am usually not too keen on comiliations, but this one really works. Also, try to get hold of his recent Mama CD's - (Bob really comes up with some great tune and album titles) Funupsmanship, With All the Bells and Whistles, Earth, Serendipity 18 - you can't go wrong with any of them - they're excellent.

Well, I went with Jackie (glad I'm not alone). I love the trumpet/alto blend. But then again, I love the trumpet/tenor sound, too. Of the tenors I would have to say Hank just edging out Wayne (though this is a really tough call).

FWIW, I think going with the "somewhat" classic recordings (ie. at least 15-20 years old) is best, especially for those of us who still have lots of vinyl. That way, we don't necessarily have to go out an buy the CD reissue (or new release) though I wouldn't mind doing that sometimes. A lot of the recordings mentioned I have in one form or another. For example, I listened to the Shorter album on LP. I don't have the Mingus on CD, but I think I have it on vinyl. I'll check tonight.

I'd hoped to see some more reviews of this album by now. Hopefully, many members are still listening and waiting until week's end to post their reviews. l I think this "album of the week" is a great idea. Let's not let it die from lack of interest.

Which is why, even though I've considered it, I've never ordered from Cadence. You'd think they'd want to encourage rather than discourage business.

There are two aspects to this. Yes, the Woody Shaw hung around for a long time (longer than it should have) but if memory serves me correctly, it did sell the full 5,000. I guess this set was not limited by time, only by the number sold. Others seem to be limited not only by numbers, but by a certain time frame, as well. With sets like the Bud Shank the time just ran out (I think it maxed out at just under 3,000) This will happen to the Chico Hamilton, too. I recently got a set - #3134, so by the time the lease runs out sometime this year, it will probably be around 3300 sets sold. It seems to me that the sets controlled by Capitol/EMI are limited by numbers and by time, but the sets which come from Verve and Sony are only limited by numbers. For example, the JJ Johnson Columbia set and the Teddy Wilson Verve set have both been around longer than the Chico Hamilton set, and they're not yet running low. In a way, this seems strange, given Capitol/EMI's direct interest in Mosaic.

I hadn't heard the album (which is what I have - an old Blue Note vinyl) for a while, but I think it's just terrific in every respect. I love the inside/outiside feel of the music - structure and focus in the compostions, but more freedom and openess for the solos - a great combination. There's just so much going on in every piece - the shfiting moods and rhythms, the ebb and flow, the ensembles and the solos, but to me it all hangs together so well. When it goes out, it's always with a certain sense of restraint (not a bad thing). But when it swings, it's with a sense of urgency that never settles into an easy groove. Yet this is not really an unsettling recording in any way, not even to me, whose ears seem more attuned to the straight-ahead. I hear a great sense of adventure in the music which I find very compelling. Hancock is outstanding in his solos and comping (especially on Genesis) and Chambers shines throughout, helped by a very good recording quality. Hubbard leads the ensemble parts with power and solos beautifully. Moncur is very effective in his solo spots and I for one enjoy Sapudling's alto solo. Shorter's solos are unpredictable, yet to me are always logical and satisfying. I find Chaos much more hard swinging than the title suggests. Genesis is perhaps my favorite piece, and the haunting mood and rhythms make Mephistopheles a really striking piece. (I must confess however, that I find Hubbard a much more effective brass player than Alan Shorter) I have really enjoyed revisiting this album. Thanks for the suggestion. In my opinion this is a 5 star recording, certainly one of Wayne's best.

How about Earl Gardner, the lead trumpet player for the Vanguard Jazz Orchestra, the late Carnegie Hall Jazz Band, the Mingus Big Band, the Dizzy Gillespie All-Star Alumni Band, and probably lots of other bands around New York. Every big band needs a great lead trumpet player (along with a great drummer) and Earl is one of the best around these days. He's taken over the role Al Porcino had in the 50's, '60's and '70's.

In the last few days: Woody Shaw - Master of the Art (despite the naysayers, I think this is a terrific recording - both Woody and Steve Turre are in great form - seems to me Woody himself didn't like this session - as often happened, he was being too hard on himself). Lee Morgan - The Rahjah Danny D'Imperio - Big Band Bloviation Donald Byrd/Pepper Adams Mosaic Mark Masters Jazz Orchestra - Priestess (great Billy Harper on this) Miles Davis - Someday My Prince Will Come Miles Davis - Sketches of Spain Billy Bang - Vietnam The Aftermath Kid Ory - Creole Classics Harold Mabern - Joyspring Up for the weekend: Wayne Shorter - The All-Seeing Eye (naturally)

McCoy Tyner's New York Reunion on Chesky.

I haven't heard this CD, but with the controversy surrounding it, I've become curious. Maybe this should be one of the upcoming CD's of the week.

Today: Pepper Adams/Donald Byrd - Motor City Scene J.A.T.P. Live in Tokyo 1953 Clark Terry - Remember the Time Errol Garner - Concert by the Sea Mark Masters' Jazz Orchestra - Early Start

I gave it a few spins from the Mosaic set, and I am not quite as enthusiastic as some of you. A decent set, but in my opinion several notches below excellent or indispensable. Certainly Byrd plays very well throughout, and to me it really is a showcase for him, more than for the others. Adams and Rouse play well, but I think they are heard to better effect elsewhere. The ensemble parts are very nice. Witchcraft and Here Am I are taken at that medium tempo which can almost drag or become monotonous in the wrong hands. That doesn't quite happen here, but to me, these tracks never quite catch fire, either. The rest of the tracks are better in this regard, and engage my interest more. In terms of the sound, I find Sam Jones' bass sound to be a bit boomy and somewhat disconnected from Taylor's drums. The rhythm section plays well, but to me, the real tight lock-up and deeply swinging groove is not quite there. Also, the high-hat seems to be over-recorded and the ride cymbals a bit under-recorded. Perhaps this is different on the RVG. There'a a lot to like about this session, and I generally prefer to be positive rather than negative, but since others have pointed out the strengths, I thought I'd mention the other side. I agree with Chuck's rating - 3 and 1/2 stars BTW, it's a bit of a listening shock to follow this up with the next session on the Mosaic set, Byrd's Creeper from 1967 and reflect on the changes that swept the jazz world in 8 short years. Though I'm a lover of bop, I generally find this later set to be more interesting.

How long before the name becomes 'Trane? Coltrane's fine, but for the really hip jazz fan only 'Trane will do! I like the idea of naming your pet after your favorite jazz musician, though. A great way to spread the jazz message with non-jazz fans in the park, or on the sidewalk, or with visitors in your home! "Here, Trane, c'mon 'Trane, let's go 'Trane!" I'm sure you'd get some questions which would lead into a nice discussion. Think think of the possibilities - Miles, Newk, Max, Duke, Basie, Bird, Diz, Zoot(!), Lady Day, Ella, Bud, Woody...

Jazzhound: Can you be specific as to why, especially in light of the strong personnel and RonF's glowing review? Thanks