jodigrind

Looking at the Chris Sheridan Bio Discography, it looks like the live unissued 1966 recordings might be the following: Cannonball (as) Nat (cornet) Zawinul (piano) Herbie Lewis (bass) Roy McCurdy (d) Live at "the Club", Chicago 3/18/66: Money in the Pocket Stardust 3/19/66 Hear Me Talking to You Requiem for a Jazz Musician Theme 3/20/66 The Sticks Cannon's Theme Fiddler on the Roof Jive Samba I Can't Get Started Manha de Carnaval This is interesting because the originial Mercy, Mercy, Mercy album (which became the hit for Cannonbal) purported to be recorded at the "Club" in Chicago, but was actually recorded at Capitol's studios in LA. This unissued session appears to be music from the real engagement at the "Club". Should be very interesting and I'm psyched that MC decided to release this.

My Avatar is there for a reason. This album is one of my all-time favorites. Pure fun and funk.

I saw this band at Smoke a couple weeks ago, and agree that Weiskopf deserves more attention. Mesmerizing solos and great compositions. He is absolutely one of the best in the business.

Sonny Cox played alto for a few albums on Cadet in the 1960's (The Wailer, and a couple albums with The Three Souls). While these albums are enjoyable, Cox basically sounds like a Hank Crawford clone to me. Landon "Sonny" Cox was a notorious Chicago high school basketball coach at King High School (coaching many future college stars and some pros). There were always rampant rumors of corruption during his time as a coach. For example, Cox purportedly kept a price list of each of his players that would be "charged" to college coaches wishing to recruit his players. Is it true that this is the same person? If so, it must be a very interesting story.

Caught the second set last night. The nice size crowd included, among others, Terrance Blanchard and Randy Brecker. Tolliver's arrangements sounded just like they did from his Strata East Music, Inc. albums (in fact, they played one song from Impact--I can check later to verify the name). The band sounded strong, if a little sloppy at times (understandable as Tolliver's arrangements are pretty demanding). I imagine they will sound much tighter by the end of the Jazz Standard run on Saturday night. Tolliver himself showed pretty strong chops, conducting the band in front of the sax section and turning toward the audience for his solos (unmiked). I love his sound and attack, and it was a real treat to see him live. Other highlights included Billy Harper (the man!) soloing with a great deal of ferocity, special guest John Hicks at the piano (sounding great--Tolliver recounted how they first met in California in the '60's with Gerald Wilson's band), Cecil McBee seriously anchoring the band, and the amazing Ralph Peterson on drums (absolutely stole the show on a couple numbers). I loved the show--anyone in town should check it out!

I saw Schnitter play at the Iridium last month at a Blakey tribute with the late '70's frontline of Watson and Ponomarev (plus Javon Jackson). His sound has certainly lost some of its visceral power from what I've heard from his older recordings, but his soloing takes some very interesting, unexpected turns (though still coming out of a Trane bag).

I'm pretty sure the retail price was $18.90, but I agree it's pretty expensive, and I'll search for a better price.

I found them here: http://www.ejazzlines.com/store.cfm?d=3061...648&m=0&do=list

Looks like Harold Vick's RCA albums have been reissued in Europe-- Watch What Happens (w/H. Hancock) Carribean Suite Straight Up Who has these and how can they be described? Thanks.

JimR-- "Lisa" is found also on Feldman's trio album for Riverside, "Merry Ole Soul", done with the Jones/Hayes rhythm section. Haven't seen the song anywhere else. I agree that "New Delhi" is a great tune. It can also be heard in a live version from about a year later from the Jazz Workshop--this time with Yusef Lateef playing with the group. Comparing the two versions of the song is very interesting, especially with the "Middle East" tinge that Lateef brought to the group. Other highlights on my latest listen: I love the little transition/turnaround used on "Arriving Soon" to signal the end of the solo. I also love Feldman's piano solo on that track. The stacking of block chords he does gets me every time. Also, a great bass solo by Jones on "Star Eyes"--such a big sound. I will check in with more comments later.

Thanks to Deus62 for asking me to participate in this fun tradition: From my review, no Cannonball albums have been featured in this topic and I would love to hear other posters' views on this recording: In my opinion, this is the tightest group playing of Cannonball's on record. The quintet had just returned from a tour of Europe and the group was ready. Also keep in mind that this was the last studio "non-concept" recording Cannonball made in the 1960's (not counting the Nancy Wilson quintet tracks recorded later in 1961). Most of his Capitol recordings were made live and the non-live recordings were not focused on his quintet or sextet's current repertoire (like the Fiddler on the Roof Album, the bossa nova album, the Cleanhead album, etc.) In any event, some highlights of this album, imo: 1. Cannonball's soloing on this record is amazing. He never repeats ideas and his sound is just like melted gold. 2. Victor Feldman is way underrated on piano and vibes. His playing is perfect for the group here. Why he didn't focus on the piano for the remainder of his career is a mystery based on his soloing, comping and compositions for the quintet. An interesting discussion could be had to speculate on how Cannonball's musical direction might have been affected if Feldman's tenure with the group had been as lengthy as that of Joe Zawinul's. 3. The album is really well-paced. Good mixture of tempos and moods. "Lisa" is my favorite track here (heard in two versions on the CD). Thanks for the opportunity to post my thoughts.

Amazing gig last night... on organ: Joey DeFrancesco, Jimmy McGriff, and Dr. Lonnie Smith sax: Houston Person guitar: Paul Bollenback drums: Byron Landham in the audience: George Benson, Rodney Jones, Melvin Sparks At the end of the set, George was called by Lonnie to sit in. They called an ultra-fast version of 'Cherokee'--and Benson showed his chops--unbelievable! I wish George would just record a straight-ahead album.

I actually caught Bartz last night with a KILLER three altos group: Bartz, Sonny Fortune, and Vincent Herring on the front line with Ronnie Matthews on piano, Cecil McBee on bass, and Billy Hart on drums--awesome stuff. Bartz has not lost a thing--he looks like he's about 40 years old (he's actually 62), and plays with the same passion and edge he showed in the 70's with the NTU troop bands plus on his Candid dates and with Sphere, but with more of a focus on melodic themes in his solos.

I caught the show where they focused on the "soulful" side of Mobley's compositions with Houston Person on tenor. Great stuff. Among the compositions were "Bossa for Baby", "Soul Station", and "A Baptist Beat".

Here are a few suggestions for Atlanta--would be great to have y'all down here: Smith's Olde Bar Address: 1578 Piedmont Ave. N.E., Atlanta, GA 30324 Information: 404-875-1522 Good Location--known for up and coming bands (sometimes jam-types) Sambuca Jazz Cafe Address: 3102 Piedmont Road N.E., Atlanta, GA 30305 404-237-5299 "Perfect blend of great nightly jazz and acclaimed cuisine. Live music seven nights a week spanning the many styles of jazz and featuring superb vocalists" Echo Lounge Address: 551 Flat Shoals Ave. S.E., Atlanta, GA 30316 404-681-3600 Nice Venue--I caught the Sugarman 3 here in April--great show Churchill Grounds Address: 660 Peachtree St. NE, Atlanta, GA 30308 404-876-3030 Closest to hard core jazz club--good jam sessions on Tuesdays Hope this helps

I've been enjoying this one too. Klemmer truly had a style of his own even at this beginning point of his career, with traces of other Chicago great tenors like Eddie Harris and (perhaps?) Von Freeman. Compositions are interesting and creative and it's fascinating to hear Klemmer's writing in light of the path he has taken over the past 35 years.

David Hazeltine--Manhattan Autumn Topaz--The Zone Gary Bartz--Music is my Sanctuary Ralph Moore--Complete Landmark Sessions Blue Mitchell--Big Six Antonio Hart--Don't You Know I Care Roger Kellaway--The Spirit Feel Oliver Nelson--Sound Pieces Justin Robinson--Just in Time

I'm really interested in this guy, given his background coming up in the mid-60's Chicago scene. His debut album on Cadet is due to be reissued soon. Any takes or comments on his early work (including his stint with Don Ellis)? Thanks!!

David Hazeltine

Dave Liebman

Urbie Green

The scenes took place in Cleveland.

Interesting find--Eddie Baccus appears as "blind pianist" in the recent movie "Antwoine Fisher". I would be interested to hear how this came to be.