DrJ

Thanks for this info, Chuck. The label of the album lists the company address in Hermosa Beach...it's a 70's era reissue of the original material. Anyone else with details of what sessions might be available on the label?

Never seen anything on it before, and this weekend while doing my holiday shopping I found two interesting items: 1) A CD with George Van Eps, Eddie Miller, and Stanley Wrightsman (piano) trios as well as some Van Eps solos and bass/drums/guitar trios from the 1940s. Good stuff 2) La Vere's Chicago Loopers - on vinyl, master takes (apparently there is an alternate takes LP out there too - the liners make mention of it - but I was lucky to find what I did used). This has a host of great musicians, Van Eps, Nick Fatool, others - but the crown jewel is a 1950 session with Jack Teagarden, 4 tracks that are absolutely glorious - easily the best Tea I've yet to hear, both vocally and especially in terms of his trombone playing - and that's saying something of course! If there are alternates for this session I'd love to hear 'em. Anyone who can say anything about this label and what all is available?

This is a fantastic reissue for those of us who don't already have it umpteen times (only a small duplication for me, with the edited down stuff on side 4 of the old LONG TALL DEXTER Savoy 2 LP set). Nice coincidence that I've just been rereading Ted Gioia's WEST COAST JAZZ lately, saw this in the store the day after I read the passages about this concert! Sound quality is better than I expected, although certainly not pristine. I'm most enjoying hearing more Wardell Gray, thus far my collection is light on his work.

Long Tall Dexter - Savoy Sessions (2 LP set, all the takes unlike the current single CD collection). Mint, $12 LaVere's Chicago Loopers (on the JUMP label, this has some Teagarden sessions from 1950) - good condition, $5 Ellington - Fargo 1940 Live - the old 3 LP Book-of-the-Month Record set (less complete than the Storyville 2 CD set I know, but I don't have that one yet and this one was in mint condition and for only $7 for the whole set - so it will tide me over!).

wolff, review most of the catalog at Red Trumpet, it all seems overpriced to me. A classic example was the Master Jazz Piano used Mosaic set that I asked people's opinions about on the board a few weeks back...they wanted $300 for it!!! Clearly a gouge attempt, and not appreciated. Their sales aren't bad but I won't buy from them just on general principle since their baseline prices are so high.

In a 24 bit Japanese paper sleeve edition, now in at Dusty Groove (Da Bastads), I just ordered my copy...I've become a McKusick nut, and couldn't live without the 2 tracks omitted from the U.S. NOW'S THE TIME "compilation." Can't wait...

Yes, we docs no longer recommend syrup of Ipecac as a way to induce vomiting in kids who swallow stuff like household cleaners - nasty problem with cardiotoxicity - but maybe we should start recommending an emergency listen to Gorelick's "duetting" with Pops on "Wonderful World" instead...no wait, forget that, we're trying to SAVE the kids...

Brad - I just sent you an e-mail.

Rooster, I understand what you mean - don't personally agree but totally understand, it's cool. I bet you hate Rachmaninoff too...Chopin, Rachmaninoff, Metheny, and of course many other artists are Romantics with a capital "R" - and for many people it's a turn off. My own take is this - when its done well, seldom is there any art more beautiful, but when it doesn't quite come off it can sound pretty sappy. But I'm not sure how this is any different than other approaches - for example, the less overtly emotional, somewhat intellectualized approach that is popular with many jazz fans is great to me too when it comes off well, but when it doesn't it can sound shallow, downright meanspirited, or just dull and emotionless. Every "school" or style has its blind spots.

Not to knock anyone's opinion - but this whole "kitsch" thing is at the heart of the debate around Metheny as far as I'm concerned. I'd never in a million years call him "kitschy." Hell, his heart is about as far out on his sleeve as it could possibly be without being detached from his body! To me "kitsch" would imply a lot more detachment and a wink wink/nudge nudge sort of mentality. Not saying anyone has to like Metheny's sound, but "kitsch" isn't the right word for anyone who plays music with this degree of passion (and in his own way he's about as passionate as any musician I can think of) and commitment (and I speak from experience, as I've used the term sort of loosely myself on some threads in the past and have been duly called on it - which I actually appreciated).

Jim, that's an interesting tidbit too - my father also had a Buescher tenor! Never knew that was Ike's horn, he'll be interested to hear that. There was a time in the late 50's where my dad played in little amateur pick up rock 'n' roll and R&B groups and given the popularity of tenor tried to pick it up...but he's a physically small guy and never really got an approach down, plus started to get into jazz, thus the later focus on alto and the Conn Naked Lady. BTW still strictly amateur on that horn too, but we still have a lot of fun occasionally playing fractured alto/guitar duet arrangements of standards (picture dogs howling, family running, you get the idea...)

Thanks for the additional information, you guys - this place is so cool, amazing to be able to tap into the minds and collective experience of musicians, producers, etc!

Up - sinking like a stone - maybe nobody else has been hip to Thomas either? Anyone in the NW who's seen him play live?

The Christmas Song - easily the most musically interesting of any seasonal tune I've heard. Stevie Wonder had a smokin' version used in a Target commercial of all things. Have Yourself a Merry Little Christmas - Dexter Gordon does a timeless take on this.

Excellent, thanks for posting this. Jim, how common/popular were Conn tenors with players in that era? My dad used to have a Conn "naked lady" alto and it seems like I remember him saying their altos were pretty widely played when he was young (late 50's), but I never heard him say anything about the tenors.

Thank you for that lovely picture, Jim, really...next time I read some reviewer gushing about a player "eating up the changes," I won't be able to get that image of the "downstream" effect out of my head!

Crud, that WOULD be fast...and if it is going OOP already, the name PASSING SHIPS takes on a whole new meaning...

I'm pretty much a late comer to Cray...relatively, meaning I didn't really know him until he got some major radio play in the 80s. I did have a chance to see him play at the Paul Masson Mountain Winery in Saratoga, CA back then and must say I did enjoy the show...really fun to watch his guitar work, he has quite a penetrating sound. I'd be interested in hearing some of this earlier work for comparison for sure.

I only have one Venus recording, Bill Charlap Trio's S'WONDERFUL and it's....well, wonderful. Including the recording, the amount of sonic detail is almost too much to be believed. All kinds of stuff like you can hear Charlap's pedal work...

Only my 2nd exposure to Thomas - first was on the Seattle Repertory Jazz Orchestra LIVE recording (Origin Records), where he plays beautifully, but is one of many bright lights. On this record, he's leader and very much front and center, backed by the Cedar Walton Trio (David Williams and Billy Higgins configuration) and a variety of other musicians. I had no idea this CD even existed until picking it up at my local used haunt this past weekend. Honestly I got it mostly because I figured heck, with the Walton et al behind him, even if it's not too good I can dig the trio. Well, make no mistake, Thomas is remarkable - really tasty soloist with a nice fat sound. He plays excellent trumpet and flugelhorn, which seem to be his main instruments, but also wails some nice tenor AND plays flute, pretty amazing. Some really really nice arrangements on this one - "Blue Trane" really caught my ear especially, given that it's totally rethought rhythmically, and with a trombone ensemble for backing, and Cedar Walton on electric piano (never fear, purists - he's on acoustic piano through most of the record). This sounds odd I know but what a great sound, lush and full and sonorous, really works out. You can look at the (well-chosen) track list and read some of the glowing reviews at: Jay Thomas Reviews This one is HIGHLY recommended, folks. Thomas definitely ought to be much better known.

Hey, cool, congratulations Chuck! I've certainly been enjoying it.

Not sure where you live Alexander, but my area (Northern California) has a lot of surprisingly good bricks and mortar haunts where you can get used vinyl in good to excellent condition, as well as brand new reissue titles, for very little. Not necessarily the best deals for "rare" stuff but good for everything else. If you live in a larger urban area, my only point is don't immediately assume you have to go on line (although the sites wolff lists are indeed good ones selection wise...Red Trumpet though I must say I find ludicrously overpriced). I've had good luck with ordering vinyl from Dusty Groove also (the Bastards!). Re: "what to get," I'd do it the other way around - try out some titles of various types of jazz and see what you think sounds great on vinyl. Personally, for example, I'm finding that it has a huge sonic advantage for older recordings that aren't considered audiophile but that I love (e.g. pre-tape stuff) - when I A/B CD reissues of that stuff (such as the Sidney Bechet Blue Notes) and compare those with well-done LPs, the LPs win hands down. It's like Mr. Bechet is right there in the room with me! No doubt the 78s would blow the LPs away but I just can't get into that on a large scale for practical reasons...

Wow, great photographs! Thanks for sharing them.

For me PAT METHENY GROUP and OFFRAMP were two of the recordings that started my inexorable movement toward jazz listening...I wore both of those out on vinyl in college.

Good news Chuck, thanks, will definitely track 'em all down.