The Riverside Label

[Big Al]

interesting point about Cannonball, MG-- let me think about that a while... just to test myself, I'm listening to the K2 cd of "Know What I Mean?" & it is a f-i-n-e side...

Don't know that one. Always thought the sleeve looked a bit too cleverclogs for me.

MG

It's a very nice date with what I consider to be the definitive recording of Earl Zindars' "Elsa." Get it for that alone.

Coming from you, Al, I think I'd better.

MG

I'm honored!

[JSngry]

Jazzland released two Joe Harriot sides , including Free Form, both of which I found in the old Treasure City cutout bin back in my high school days. Gotta love'em both for releasing the albums, and for not preventing them from ending up in a cheapo Longview, Tx department store, even if the latter was one of those things they had no control over except by karma.

[BFrank]

This is a very interesting and well-organized collection. Worth picking up. Not sure if it's still in print, but either way, probably not getting a premium price second-hand.

[michel1969]

ODE TO MUMBLES (excerpt)

clark terry killed kennedy

Clementine, you should have been a member of the Warren commission !

How do you know he wasn't?

MG

Because the Warren commission did not found who actually killed JFK

[sidewinder]

Jazzland released two Joe Harriot sides , including Free Form, both of which I found in the old Treasure City cutout bin back in my high school days. Gotta love'em both for releasing the albums, and for not preventing them from ending up in a cheapo Longview, Tx department store, even if the latter was one of those things they had no control over except by karma.

Here's the other one. 'Abstract', original issue in the UK in 1963 on UK Columbia with totally different artwork. Nice move picking up the Jazzlands. Both sessions are undisputed UK modern jazz landmarks.

Edited December 23, 2006 by sidewinder

[JSngry]

Actually, the first Jazzland was called Southern Horizons and was straight-anead stuff. Compiled from two UK EPs, I'm told.

[jazzbo]

Yes, those are both good ones.

I keep spinning this new compilation, I think Concord did an excellent job.

They made me hear this with excitment all over again.

[sidewinder]

Actually, the first Jazzland was called Southern Horizons and was straight-anead stuff. Compiled from two UK EPs, I'm told.

That is true - just checked my Harriott discography. The 'Abstract' did not come out on Jazzland but did get an issue on Capitol. The Columbia LP is a very great rarity. The two EPs you mentioned by the way that make up 'Southern Horizons' are 'Blue Harriott' and 'A Guy Called Joe'.

Edited December 23, 2006 by sidewinder

[Quasimado]

Joe Albany *The Right Combination* - some of the best Warne Marsh on disc.

Q

[jazzbo]

One of the best releases of 1962.

[marcello]

That said, Clark Terry-- never, ever liked him so it's funny to pick an "enteraining" dude & vilify him. The best description of Terry was... "Clark Terry sounds like, well... a less annoying Clark Terry." truer words were never spoken.

curious tho' ain't nobody stepped up for some of the medium/quadi-big band sides, Ernie Wilkins charts, some Oliver Nelson. it's hard to fault the craft but at the same time most of the time, it seems those dudes were jes' jobbin'. NOT always but... mostly.

mornin' ya'll!

Kojack Jr

Some good jobbin' here:

[felser]

clark terry killed Bobby Fuller

Clark Terry fought the law and Clark Terry won?

[The Magnificent Goldberg]

clark terry killed Bobby Fuller

Clark Terry fought the law and Clark Terry won?

No, Clem meant Clark Kent.

MG

[The Magnificent Goldberg]

But it was Johnny "Guitar" Watson who did this lot.

clark terry fucked my wife

clark terry knocked up my daughter

And this was Redman

clark terry is a lousy lay

clark terry doesn't swallow

I think I'll play my sole Clark Terry album next, just to annoy Clem

MG

Edited December 24, 2006 by The Magnificent Goldberg

[Clunky]

One of the best releases of 1962.

oops , this one of the few CA releases I loath, boring and dull, give me Clark Terry any day.......no seriously this is not one of Julian's better releases, those were all long time behind him in 1962. Live in San Francisco at the Jazz workshop- now that's a different story..................

Edited December 24, 2006 by Clunky

[J.A.W.]

One of the best releases of 1962.

oops , this one of the few CA releases I loath, boring and dull, give me Clark Terry any day.......no seriously this is not one of Julian's better releases, those were all long time behind him in 1962. Live in San Francisco at the Jazz workshop- now that's a different story..................

I fully agree with your assessment.

[The Magnificent Goldberg]

ah, but i have the antidote--

Harold Mabern A Few Miles from Memphis, w/some very strong George Coleman (sez I).

All Mabern's Prestige albums are great. My favourite is "Rakin' n Scrapin'".

sidenote, if I wasn't scared of the sacred... you ever listen to the Four Knights, MG?

Nope. They backed Nat Cole on one or two things. Sall I know. More please.

MG

[jazzbo]

One of the best releases of 1962.

oops , this one of the few CA releases I loath, boring and dull, give me Clark Terry any day.......no seriously this is not one of Julian's better releases, those were all long time behind him in 1962. Live in San Francisco at the Jazz workshop- now that's a different story..................

I fully agree with your assessment.

Well, I disagree obviously. I think 1961 was the beginning of really good stuff for CA. Different strokes for different folks. This is a darned good one in my opinion. Lateef!

Edited December 25, 2006 by jazzbo

[Larry Kart]

Clem -- I know what you mean about Clark Terry, but there are exceptions: "Swahili" (EmArcy), from 1955, with Quincy Jones charts (they can be cute, I know), Jimmy Cleveland, Cecil Payne, Horace Silver, Oscar Pettiford, and Art Blakey (that rhythm section makes a big difference); and "In Orbit" with Monk. Terry used to come through town pretty often at the Jazz Showcase, and I'd usually express some annoyance in print at what seemed to me to be his complacent cliche-mongering (one time, later in the week, he went on the air with a local DJ-Black activist and agreed with him that I had to be racist). Then the next year he was paired at the Showcase with Al Cohn, who was in the take-no-prisoners mode of his later years, and Clark got the message right off and really played.

[Big Al]

Another favorite is Tadd Dameron's THE MAGIC TOUCH. Absolutely stunning arrangin, IMO, especially on "On a Misty Night."

[Peter Friedman]

All the Cannonball recordings with Yusef Lateef are terrific. For some reason Yusef added a special dimension to Cannonball's group that spiced up the music to a higher level.

That's not to say that I didn't like Cannonball's earlier things. I did, but consider his sessions with Lateef a bit better. In my view Charles Lloyd joining the group was a comedown from the Lateef years. Lloyd played decently on some tunes, but lacked that deeprooted blues based feeling that Yusef brought to the proceedings.

Cannonball's group lost interest for me when he entered his electric later period with people such as Michael Wolff on keyboards. His group ( to my ears) became an overly cliche ridden commercially oriented soul jazz

entity. The creative juices unfortunately declined significantly.

[jazzbo]

I pretty much agree with you, though I find I enjoy Cannon's output to the end, because. . . damn the motherfucker could play. He got better and better in my opinon.

I much prefer Lateef to Lloyd anyday anywhere. Lateef brought so much to the Sextet just as he brings so much to anywhere he goes. That cat is DEEP.

[Peter Friedman]

Another aspect of why I enjoyed Cannonball's Sextet with Yusef Lateef so much is the wonderful playing of Joe Zawinul. Damn but Joe was a great blues player.

The strange thing for me though is how very few things I enjoy by him when he was not with Cannonball.

The Riverside session with Ben Webster quickly comes to mind as a situation where I definitely dig Zawinul's playing. I am sure there must be a few more?

When he turned electric my interest turned elsewhere. It was a great disappointment to me that Joe didn't record a few trio sessions with Sam Jones and Louis Hayes while with Cannonball. Had he done so I suspect they would have been fantastic.

Edited December 25, 2006 by Peter Friedman

[jazzbo]

Listened to this one this morning.

Was a pleasure!

Teef. . . Zawinul. . . ah.

[Randy Twizzle]

Clem -- I know what you mean about Clark Terry, but there are exceptions: "Swahili" (EmArcy), from 1955, with Quincy Jones charts (they can be cute, I know), Jimmy Cleveland, Cecil Payne, Horace Silver, Oscar Pettiford, and Art Blakey (that rhythm section makes a big difference); and "In Orbit" with Monk. Terry used to come through town pretty often at the Jazz Showcase, and I'd usually express some annoyance in print at what seemed to me to be his complacent cliche-mongering (one time, later in the week, he went on the air with a local DJ-Black activist and agreed with him that I had to be racist). Then the next year he was paired at the Showcase with Al Cohn, who was in the take-no-prisoners mode of his later years, and Clark got the message right off and really played.

Copyright Chicago Tribune Co. Apr 10, 1986

Like a somewhat older jazz master, trumpeter Harry "Sweets" Edison, Clark Terry has always been an individualist.

But even though both men sound like no one but themselves--with Edison cultivating a stinging, tightly-muted approach, while Terry purveys developing a serio-comic swagger--their marvelously unique styles do have a downside to them.

Because they know their mannerisms are so attractive, Edison and Terry sometimes behave like comfortable old pros instead of digging into the here- and-now. But Wednesday night at the Jazz Showcase, Terry was really on his toes--perhaps because his frontline partner, tenor saxophonist Al Cohn, is one old pro who plays as though his life were at stake each time he picked up his horn.

Terry still plays the trumpet, but for many years his instrument of choice has been the flugelhorn, which he virtually introduced to jazz.

It's an odd instrument, sharing the trumpet's range but having some of the tonal coloration of a French horn. And Terry has so totally personalized its sound that his approach is identifiable from the first note--a broadly sweet, almost sentimental sound, within which Terry places so many dancing little accents that he sounds like an imp at a turn-of-the-century soiree.

Cohn, on the other hand, operates his horn as though it were a piece of earth-moving equipment.

His tone is massive and thick, so much so that one might wonder how he could swing. But Cohn knows exactly where he's going, plowing through each tune with such determination that the graceful paths he's traced seem to become evident only after the fact.

Terry and Cohn form a beautiful partnership--for Cohn's unflagging commitment to the act of improvisation stimulates Terry to respond in kind.

On "Satin Doll," for instance, Cohn began with a darkly moaning paraphrase of "On a Clear Day, You Can See Forever" and followed with an unbroken, four-chorus-long melody that rose to several peaks of passion.

After that it was natural for Terry to respond in kind, and he did so throughout the night--intensifying his normal taste for lighthearted rhythmic chatter until one knew once again just how much he has to give.