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DMP
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Woody Shaw, "Master of the Art" and "Night Music," and the MJQ, "The Legendary Profile."
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The main thing I remember was the grin on his face when he "comped" behind the other soloists; he seemed to really enjoy repeating those figures. (Most of the tunes were really one chord vamps, I guess.) When I heard him with Patton, they opened up with "The Yodel," recorded earlier on Patton's LP, and they played it at about half the speed of the recorded version - much "funkier." And, one night, the Claude Bartee group played a long version of Donald Byrd's "Fancy Free," which seemed like an off-the-wall selection (although it later showed up on the "Lighthouse" LP). The thing about seeing him - and the many others at the time - was that it wasn't any big thing, no special occasion - going to hear these musicians on a Wednesday night at a local bar was just almost a normal routine.
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Yes, saw him many times, beginning in the late '60's (with John Patton) until shortly before his death (with a pick-up group of local musicians, playing standards). It didn't seem like any big deal at the time - he was a regular at the local clubs in the Hill district of Pittsburgh (as was Freddie Hubbard, Jack McDuff, Horace Silver, Lou Donaldson, Groove Holmes, plenty more) - I was lucky enough to catch the tail end of the period when you could catch musicians of this calibre in a local bar. Think I mentioned once before how Green and Patton worked on "A Day In the Life" on their break, after someone played Wes Montgomery's version on the juke box. Looking back, it's hard to believe. Guess age has some advantages.
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Green "live" in this period was pretty exciting, and I'm not sure the albums that came out at the time really reflected what it was like to hear him in a club. The Lighthouse set probably comes closest. He appeared regularly here with his group (Claude Bartee was the constant) up in the Hill District in the early '70's, usually opening with "Ease Back."
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Gene Ludwig!!
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If I recall correctly, that box was the first time all the Five Spot material appeared together in one place, so at the time, this was a big deal. And still is! But as for sound, I've never heard much difference among any of the various issues. I'd get the box simply because all the music's there. (is there a problem with the sound on the Dolphy CD box?)
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Where would Fresh Sounds get this "unissued" material? I was under the impression that they don't have access to any original masters/session tapes, but mostly ripped off existing, legitimate releases. (I think the session might have originally been on an Italian RCA label - are they ripping off Europeans here?)
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It was listed as "upcoming" by Collectables a couple of years ago, but never made it. Too bad, it's a good one, not sure why it's been neglected.
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There's also a good version of "Extensions" on one of the live Impulse albums - if I remember correctly Freeflight and Outertimeinnerspace were from the same concert- it's on one of those. Strong recordings, although there may be a couple places where he switches between electric and acoustic piano in the same piece, that's always a routine these leaves me a little cold. That probably wouldn't be an issue for most people.
(Edit: There's a new CD copy of "Freeflight" at Amazon for $161!! And used for &120!!! For a record you could get in the cut out bins for a couple of bucks!!)
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Picked up the Extensions/Naked City CD mentioned above. Sound is so-so. (This is an issue on most of the Argo albums, of course.) But these are some of my favorite Jamal's - he really starts to dig in a little more in this period (1964-65), less skimmimg, not as "precious" (is that the right word?) as just a few years ealier. Great stuff!
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Can't believe I'm about to buy my 10th (or maybe 11th) version of "Kind Of Blue."
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Denny Zeitlin Trio (Buster Williams & Matt Wilson) In Concert.
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Moer is also on the first 2 Paul Horn "Columbia" albums (they've been out on Collectables and are excellent - not sure why they don't get more recognition). Think he's originally from Meadville, PA, about 90 miles north of Pittsburgh, in the snow belt - also the home of Sharon Stone and Paul McCandless.
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Thought I'd purchased Ahmad Jamal's "Naked City Theme"/"Extensions" from CDUniverse, but just got an e-mail that it's back-ordered. (2 "in stock" when I placed the order. I'll never see it.)
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Any news on the Garner front? I'm afraid one of the most popular jazz artists of our lifetime will soon be a mere footnote.
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The engagement I heard at the Vanguard - his first in a NYC club, I believe - came just after a succesful appearance at the Newport/NY jazz festival (or whatever it was at that point - JVC, Kool, can't remember). Pepper was clearly thrilled to be there, and, of course, the audience was in some kind of jazz heaven. Liner note writers for the subsequent recordings always pretty much dismiss this first engagement, somehow the band wasn't up to par... But, believe me, it was terrific. Gumbs, who I had only previously heard in more commercial settings, was great - a sympathetic accompianist and really strong soloist, and Pepper was especially vocal in his admiration for what Perla was doing. Gary Giddens wrote about it in the Voice - the article probably appears in one of his collections - he probably has a better slant on this than I do, I should look it up. Anyway, as much as I like and admire George Cables, this first engagement was special.
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As much as I like this set (and I had the original LP's and CD reissues before picking up the box), I don't put it on very often. For me it's the drums. Elvin Jones is the greatest, but not in every situation, and I never thought he was the best choice for Pepper. (I like him slightly more on the Contemporary LP.) I heard Pepper at his original Vanguard date, a couple months before the second, recorded engagement, and honestly I prefer what I heard then. This was the date where the original choice for piano (Jaki Byard) didn't work out, and a last minute replacement was brought in. (The group was Onaje Allan Gumbs - wonderful in this setting - Gene Perla, and Joe LaBarbera,)
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Mantovani gets a section all to himself. But I am remiss on Wingy Manone, so give me a couple of suggestions.
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Where's Shelly Manne? Between Herbie Mann and Lawrence Marable.
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Both volumes of Ornette Coleman "At The Golden Circle." But before I put them on, think I'll pull out Shelly Manne...
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Just picked up this album - it's a good one! Tjader is heard in several settings, not exclusively in the Latin vein. Interesting to hear the brief (one chorus) track with John Lewis, don't think I've ever heard him with any vibest but Milt Jackson. Anyway, an enjoyable addition to the Tjader discography, well worth getting.
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Despite some progress in curing cancer, pancreatic cancer is still a tough one, almost a death sentence.
I talked to his wife a few months back to inquire if he was available for a fall concert - she said he was no longer accepting dates in 2008, but was open for 2009, so we were optimistic about his health..
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The title cut on Roy Brooks' "Free Slave" - it's in the vein of the obligatory Blue Note lead-off funk/soul/a-go go number, except about 10 times groovier. Plus all the above recommendations.
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The only time I saw Izenzon was with Ornette, Charlie Haden was also in that group. It was late August, 1967, at the Village Gate. A double bill - Miles Davis played the first set (Shorter, Hancock, et al), and Coleman's music was actually the more accessible!! (Think about that - Miles and Ornette, in a club, on the same bill!! Those were the days.)
"Bastards" Dusty Groove reissues some Woody Shaw
in Re-issues
Posted
The sound is fine. The usual skimpy Wounded Bird production, though - no recording information. I've always assumed "Night" is leftovers from the earlier "Master" LP. Both are worth getting.