Kevin Bresnahan Posted February 6, 2014 Report Posted February 6, 2014 Introducing Eric Kloss (Prestige momo). Pretty impressive debut, with a great rhythm section - Don Patterson, Pat Martino, and Billy James. I wonder how Eric Kloss is doing these days. Remember our fundraiser for Eric? (http://www.organissimo.org/forum/index.php?showtopic=17357) Quote
jeffcrom Posted February 6, 2014 Report Posted February 6, 2014 Tyree Glenn - At the Roundtable (Roulette mono). A very nice, not particularly profound album with a great rhythm section: Hank Jones, Mary Osborne, Tommy Potter, and Jo Jones. Quote
mjazzg Posted February 6, 2014 Report Posted February 6, 2014 prompted by previous posts. It is good, indeed. Followed by some more Dewey Quote
JSngry Posted February 6, 2014 Report Posted February 6, 2014 That Columbia University group plays the shit out of Echoi! I've never seen that album before - I know Time Cycle, but not Echoi. And I know a Larry Rivers portrait when I see one. Cool! That Columbia University group plays the shit out of Echoi! That inspired me to pull out the version on Wergo. Different players, but also features a well-known composer on piano, this time Lukas Foss himself. The copy I found is pretty noisy, and apparently it's a rare-ish item, but seriously, the group that plays Echoi is in a zone. Superb execution is one thing (and the group on Time Cycle gets to that point). But these other cats go past that and bring that "fully engaged RIGHT NOW" feeling that only the best musics have. A cleaner copy at a higher price would definitely be something I'd consider, I think it's that good. Quote
Clunky Posted February 6, 2014 Report Posted February 6, 2014 Jimmy Smith------Confirmation -----(Blue Note)Jazz file initial release from 1979 Quote
mjazzg Posted February 6, 2014 Report Posted February 6, 2014 Detail Plus - Way it goes/Dance of the soul [impetus] four great players, Stevens, Gjerstad, Dyani and a blazing Bobby Bradford Quote
paul secor Posted February 6, 2014 Report Posted February 6, 2014 I've never been a big Chu Berry fan. (Shaking head): Paul, Paul, Paul.... Okay - if folks can enlighten me as to what I'm missing, my ears are open. If nothing else, incredible fluidity/fluency of execution and superbly full & even tone in all registers. Chu Berry played without hesitation, intellectually or physically. Remarkable even today, but especially so then, in light of the relative "newness" of the instrument, not just to "jazz", but to music as a whole. That much is objective. Everything else, subjective. Thanks for your feedback, Jim. I'll do some more listening. Jeff sent me a PM which he gave me permission to post here. I'll do that in hopes that others might pick up some ideas about Chu Berry: Jeffery's Essay on Chu Berry: Chu was Coleman Hawkins disciple, but he was a lesser mortal - he was not a near-genius like Hawk. But he had his own voice, and there were areas in which he perhaps exceeded his idol. First of all, Berry was the most technically accomplished tenor saxophonist in jazz after Hawkins. He had a beautiful, round sound, "prettier" than Hawk's, but with plenty of fullness and body. And that fullness extended through the entire range of the horn, from the lowest notes to the altissimo register. And he was perhaps the first master of the altissimo register in jazz; he effortlessly took his lines above the "normal" range of the horn in a way that Hawkins never did. He didn't use that register that often, but he never used it as a novelty - his high notes didn't sound like "freak" notes, they sounded like all his other notes. He used the altissimo register in the same way Steve Lacy did later - melodically - not like Illinois Jacquet did, to create excitement. But his technical mastery of the horn wouldn't matter if he didn't have a story to tell. Chu's improvising doesn't have Hawkins' harmonic sophistication (no one but Art Tatum could match Hawk's grasp of harmony in the 1930s), but in some ways, it's more "modern." Berry had a more linear, melodic approach than Hawkins; it reminds me of Benny Carter. I don't know if Berry was influenced by Carter, but Chu often plays similar long-lined melodies, which often contain striking, unusual note choices. And at his best, he often constructs asymmetrical phrases which flow over the regular divisions of the tune. Have you heard Berry's solo feature with Cab Calloway, "Ghost of a Chance?" It's one of the great big-band saxophone features in recorded jazz. When I wanted to hear it tonight, I had a choice of hearing it on LP or 78. (I don't have it on CD.) I chose the 78, because Chu's sound is so "present." The record is the best illustration of his mastery of the altissimo register, but it's more than that - it's a continually inventive variation/improvisation on that tune. If you haven't heard it, track it down on the web - it's worth your time. And Berry was only in his early 30s when he died. I would love to hear how he would have sounded 10 or 15 years later. And later: here's a sentence I wish I had added to my "essay." Hawkins often sounds like he is (brilliantly) running chords, while Chu is playing lines. Quote
Larry Kart Posted February 6, 2014 Report Posted February 6, 2014 Chu Berry: A Giant of the Tenor Sax (Commodore) I've never been a big Chu Berry fan. Roy Eldridge's playing is what grabs me when I listen to this record. Incredible, gutty, connected rhythmic drive: One feels he could go on like this forever. Quote
paul secor Posted February 7, 2014 Report Posted February 7, 2014 Chu Berry: A Giant of the Tenor Sax (Commodore) I've never been a big Chu Berry fan. Roy Eldridge's playing is what grabs me when I listen to this record. Incredible, gutty, connected rhythmic drive: One feels he could go on like this forever. Thanks to you, too. I'll keep listening. Quote
jeffcrom Posted February 7, 2014 Report Posted February 7, 2014 Elvin Jones - The Prime Element (BN); record two - the session with Lee Morgan. Quote
sidewinder Posted February 7, 2014 Report Posted February 7, 2014 Elvin Jones - The Prime Element (BN); record two - the session with Lee Morgan. Big for that set. Quote
tomatamot Posted February 7, 2014 Report Posted February 7, 2014 Graig Harris Quintet - Black Bone ( Soul Note SN 1055 ) Quote
porcy62 Posted February 7, 2014 Report Posted February 7, 2014 (edited) Elvin Jones - The Prime Element (BN); record two - the session with Lee Morgan. Big for that set. Yes, I am listening to it now, it's a pity for the sound, definitely poor. Edited February 7, 2014 by porcy62 Quote
porcy62 Posted February 7, 2014 Report Posted February 7, 2014 (edited) Bergenfield pressing. Bergenfield pressing. Edited February 7, 2014 by porcy62 Quote
Leeway Posted February 7, 2014 Report Posted February 7, 2014 THE BOSS MEN - Don Patterson, Sonny Stitt, Billy James. Blue label Prestige, 203 S. Washington. Bergenfield, NJ. Recording by Rudy Van Gelder, and it sounds great. I just got back from the dentist (2nd visit this week), and I needed something with a high chill-out factor Quote
Leeway Posted February 7, 2014 Report Posted February 7, 2014 BLACK PEARL - Jimmy McGriff. Blue Note/UA LP. Fat-back, gut-bucket, down-home, cold beer, blues and grooves aplenty Quote
Clunky Posted February 7, 2014 Report Posted February 7, 2014 (edited) Excellent album, like this a lot Edited February 7, 2014 by Clunky Quote
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