DMP

How about Jimmy Smith?

The Coltrane/Hartman is a "hybrid," so you don't need an SACD player - both mono and stereo versions are on both layers. Van Gelder relates that jazz musicians and producers at the time thought more in mono (and there was no mixing - the balance was created "live at the recording session. All the sessions were monitored only in mono"), and stereo was often just an after-thought; he writes that on the mono tracks "you can hear what we heard in the control room 41 years ago."

Don't forget the recent RVG edition of John Coltrane & Johnny Hartman - it's a SACD hybrid, and contains both mono and stereo versions of each selection. Van Gelder makes a case for the mono versions in the notes - says they accurately depict what actually went down that day. (No mention of any over-dubs.)

And I also have a question about it. On my Donaldson CD, the name "EMI" appears larger than the name "Water," and there's a line in there about the CD being "manufactured by EMI..." Something similar with a couple recent "Wounded Bird" releases - "Sony" appears in bigger letters than ""Wounded Bird," and there's a similar "manufactured" line. What exactly IS licensing????

My favorite, too. There must be half-a-dozen "live" albums that would make a nice, cohesive package. As it stands, the best available McCann is available on the Joe Pass "Mosaic" set.

No string overdubs.

"Les McCann and the Jazz Crusaders."

In the spirit of this "Basra" business, I skipped the latest batch of RVG's (how many times do I have to buy the same stuff??) and ordered Shelly Manne's Contemporaty album "My Son the Jazz Drummer," re-titled "Steps To The Desert." Those Fantasy folks aren't afraid to bring up the Middle East.

I agree. And it was a pleasant surprise when it showed up on CD recently. I assumed it was gone forever.

My Lytle experience is similar to that of Bill Fenohr above - Lytle also appeared at the organ spots here in town. He had these colored lights in front of the vibes - that was his gimmick. Probably never taken seriously by "serious" jazz fans, but that might be to his credit.

The McCann/Turrentine Blue Note and the Pacific Jazz "In New York" were indeed both out, as noted above. It was a productive week for McCann - his "Shampoo at the Village Gate" (also Pacific Jazz) is from then, too, and - title aside - it's one of his strongest trio albums.

Don't know anything about that, but Lloyd Mayers did have a nice album on United Artists - with Oliver Nelson's arrangements - "A Taste of Honey" - very much in the vein of the Smith Verve's.

I read once where Kenton didn't like stereo.

Didn't expect it to be so straight-ahead - nothing Latin on there. (I know Tjader has made many fine non-Latin albums, but this might be at the top.) A pleasant surprise - I had never heard it 'til the OJC release, and got the SACD as soon as it became available.

Whatever the cover, it's a teriffic album, and not exactly what you might expect.

How about Paul Seranno? (Or maybe "Serrano?") He had a good album on Riverside (one of those "Cannonball Addeley Presents" projects) called "Blues Holiday," with a strong group of fellow Chicagoans. Always thought it was a natural for one of those "limited edition" OJC's. (Shades of Don Sleet!)

Wait a minute - I think I'm wrong about the Elvin Jones "Blue Note" - the song might have been "A Time For Love." Also a nice tune, but it gets forgotten - it was pushed at the time as a sort-of follow-up to "Shadow of Your Smile." But I'm standing by Maynard, female vocals and all.

The first time I heard the song was on the Art Blakey "Impulse" album, Bobby Timmons last appearance with the band (underwhelming) and on an Elvin Jones "Blue Note" (with Joe Farrell?). My current favorite version is the Maynard Ferguson disco-jazz performance on the recently reissued "New Vintage" (or maybe it was "Primal Scream" - they're pretty much the same album) - they pull out all the stops!

Well, Claude Bartee, anyway...

"Idle Moments," of course, and I've always put "Feelin' the Spirit" at the top of my Green list. I heard him live many times from the late '60's on, in clubs in the "Hill District" of Pittsburgh, almost always with an organ. The "Live at the Lighthouse" album really captures what he was like in person - more than the "Alive" album - and I think that it's essential (and often over-looked) Grant Green. (And the CD version gets rid of most of those ridiculus DJ introductions.)

An interesting topic might be who was the most consistent Riverside or Prestige leader of the 50's and 60's. Without giving it much thought, my guess is that their output would far outstrip in number and importance most of the Blue Note material we've been discussing.

I'd go with Horace Silver - a remarkable string of albums up to the mid-60's . But after "Jody Grind," it's another story.

kdd - Thanks. Interesting. I think I might have seen his name on an organ date once, but can't remember. (Guess that Tom Lord discography would be a good investment for stuff like this.) Anyway, his 2 "Black Jazz" albums are (to my ears) really first rate in every way.

Mike Casinghino - Those 2 "Columbia" Jeremy Steig's that were apparently scuttled by "Collectables" - the one I had on LP was "Flute Fever" - very nice. (However, the Paul Horn "Columbia" issue, scheduled at the same time as the Steig, did make it - probably overlooked by most people, but it's excellent.) (That was his pre-pyramid days.) Back to the main subject... Funny how excited everyone (including me) is about a couple of minor "Blue Note" titles!!

There are a couple of Christmas tunes on Hank Crawford's "We Got a Good Thing Going" ("Kudo") - anytime I make some kind of Christmas compilation I always lead off with his "Winter Wonderland" - nice Eric Gale on that one.