greatest jazz recordings: Penguin and you
Kevin Tripp
four stars. In a very small number of cases (all of which are listed
below), they award a fifth star; these are recordings which are felt to be
of "desert-island" quality.
Disregarding, for the sake of conversation, the inherent foibles of such a
rating scheme (which the authors of this particular text, in encouraging
readers to use the rating in conjunction with the textual discussion
provided, readily acknowledge) I would like to hear opinions on this list,
alternative lists, etc.
Please note that the recordings included in the _Penguin Guide_ are a
function of what was in print c.1990 (in the UK?). Also, awarded ratings
make allowances for factors such as relative sound quality, quality of CD
transfer, etc.
Thanks in advance.
Louis Armstrong
Hot Fives and Sevens Vol.1
Hot Fives and Sevens Vol.2
Hot Fives and Sevens Vol.3
Count Basie
The Original American Decca Recordings
Art Blakey
Art Blakey's Jazz Messengers With Thelonius Monk
Peter Brotzmann
Machine Gun
Betty Carter
The Audience With Betty Carter
John Coltrane
A Love Supreme
The Major Works Of John Coltrane
Miles Davis
Kind Of Blue
Eric Dolphy
Out To Lunch!
Duke Ellington
The Blanton-Webster Years
The Afro-Eurasian Eclipse
Bill Evans
Sunday At The Village Vanguard
Waltz For Debby
Art Farmer
Blame It On My Youth
Ganelin Trio
Catalogue: Live In East Germany
Lars Gullin
The Great Lars Gullin Vol.5
Andrew Hill
Point Of Departure
Bobby Hutcherson
Dialogue
J.J. Johnson
The Eminant J.J. Johnson: Volume 1
George Lewis
Homage To Charles Parker
Shelly Manne
At The Blackhawk
John McLaughlin
Extrapolation
Charles Mingus
The Black Saint And The Sinner Lady
Thelonious Monk
Genius Of Modern Music: Volume 1
The Complete Riverside Recordings
Jelly Roll Morton
The 1923-24 Piano Solos
Jelly Roll Morton Volume One
Fats Navarro
The Fabulous Fats Navarro: Volume 1
Joe 'King' Oliver
King Oliver Volume One 1923 to 1929
Charlie Parker
The Charlie Parker Story
Charlie Parker On Dial: Volume 1
Charlie Parker On Dial: Volume 4
Charlie Parker On Dial: Volume 5
The Legendary Dial Masters: Volume 1
Sonny Rollins
Saxophone Colossus
Alexander Von Schlippenbach
Pakistani Pomade
Muggsy Spanier
Muggsy Spanier 1931 And 1939
Sun Ra
Jazz In Silhouette
Art Tatum
The Complete Pablo Solo Masterpieces
Edward Vesala
Lumi
Vienna Art Orchestra & Choir
The Minimalism Of Erik Satie
Larry Young
Unity
John Zorn
The Big Gundown
Marc Sabatella
> Disregarding, for the sake of conversation, the inherent foibles of such a
> rating scheme (which the authors of this particular text, in encouraging
> readers to use the rating in conjunction with the textual discussion
> provided, readily acknowledge) I would like to hear opinions on this list,
> alternative lists, etc.
There is bound to be a different character to lists made "top down" versus
"bottom up". That is, does one start by saying "we need 20 or so 5 star
albums" and then choosing them to represent ones tastes, or does one simply
award stars and then look up and see who ended up getting 5?
The Penguin list strikes me as a bottom up list - it contains albums that
struck them as great while they were listening to them. Whereas I tend to think
about this more from a top down perspective, and as a result, my reaction on
seeing this list when it was first posted a while ago was "What?! No Ornette!?
No Cecil?! Only one Miles? And so little Coltrane? Why include the Dolphy
and the Hill and the Hutcherson?" - ie, looking at it from a historical
perspective, and what they left off. There are a few specific gripes I have
with what they did include, as well: I would have only grudgingly awarded the
Blakey/Monk album a third star, and find five outrageous; I would have chosen
"Charles Mingus Presents Charles Mingus" over any other Mingus; I don't see
"Saxophone Colossus" as all that big a deal. And of course, I've never heard
some of these albums. But all in all, it's as reasonable a list as any, I
suppose. I think Marcel (good to see you posting recently!) had a list I liked
better, but I think it was longer.
--
Marc Sabatella
ma...@sde.hp.com
--
All opinions expressed herein are my personal ones
and do not necessarily reflect those of HP or anyone else.
TornCot
Tripp) writes:
I think that the Penguin Guide is pretty good as jazz guides go. The
listings are relatively complete and the writing is far better than most
guides(It beats the new All Music Jazz Guide, which employs an utterly
confusing rating system.) The Blanton-Webster Band is IMHO clearly the
best Ellington collection. Of course I think they spend too much time on
European Free Jazz recordings,but, after all they are British.
I'll take this opportunity to single out some albums I would give five
stars to but aren't always recognized as classics.
Red Allen "World on a String"
Coleman Hawkins meets Ben Webster
The entire Time Life Giants of Jazz Series
Charlie Mingus "Mingus Ah Um"
All of Billie Holiday's pre-1940s recordings
Many others too numerous to mention
I would love it if Time Life did a Giants of Jazz Series featuring Bebop
and Beyond. It'll never happrn
Dave Krugman
Frank Lepkowski
: I'll take this opportunity to single out some albums I would give five
: stars to but aren't always recognized as classics.
: Coleman Hawkins meets Ben Webster
Yes, this is great stuff! THe contrast between their styles is splendid,
the selection of tunes and the supporting cast all make this a superb
date. Put side to side, Hawk's gruff sound makes Ben seem like Mr.
Smooth.
Frank Lepkowski
matt spitzer
wrote:
> suppose. I think Marcel (good to see you posting recently!) had a list I liked
> better, but I think it was longer.
Any chance of a repost?
And on the subject of recordings that should have rated 5 stars:
Art Blakey, A Night at Birdland
Ben Sharvy
> In a very small number of cases (all of which are listed
>below), they award a fifth star; these are recordings which are felt to be
>of "desert-island" quality.
First of all, am I correct to think that the list of recordings was the
the *entire* list of 5 star recordings in the Penguin guide? No Billie
Holiday??? You've got to be kidding me. No Earl Hines, Ornette
Coleman, Coleman Hawkins...(just naming names off the top of my head...)
But it does include Brotzman and McLaughlin (the most over-rated player
in the history of jazz, I just have to point out).
Anyway, I do prefer the simple star-ratings to the system I saw recently
of rating the recordings according to their supposed "role" in your
listening evolution. In this system, you are told if the author thinks it
is the ideal *first* purchase of that style of recording or artist, for
you, or if it is the one album of that artist you should have, or if it is
somehow a classic... Browsing through this book, I once found a "classic"
which was given a flat-out bad review in the text. The system presumes too
much about the reader, and is too nebulous. I much prefer the simple
star-ratings, accompanied by text.
--
Live Globally, Die Locally. Witches Heal. So Do Blowjobs. Liberate the
Weirdos and You Liberate the Squares.
Ben Sharvy
I'll name some names which I haven't seen on any lists hereabouts....
Steve Lacy...the best living saxaphonist hands down, nobody within three
orders of magnitude of his league, with the remote possible exception of
David Murray
Bill Frisell... the best jazz guitarist ever, with the remote possible
exception of Jim Hall. Probably the greatest single jazz musician in the
universe today.
That about sums up modern jazz. You don't really need anybody else,
although I do like Henry Threadgill. Everybody else just has some
attitude about "tradition" and plays bad. The only jazz really worth
having is the old guys--Earl Hines, Lester Young, Billie Holiday, some
Duke, and Lacy and Frisell.
Oh yeah, Paul Bley is great too. Absolutely the greatest living piano
player, and horribly underappreciated. He's up there with the others.
Genie Baker
Frank Lepkowski <lepk...@saturn.acs.oakland.edu> wrote:
>TornCot (tor...@aol.com) wrote:
>: I'll take this opportunity to single out some albums I would give five
>: stars to but aren't always recognized as classics.
>
>: Coleman Hawkins meets Ben Webster
>
>Yes, this is great stuff! THe contrast between their styles is splendid,
This is interesting. I had a tough time guessing which was which.
(I missed the last sentence in the liner notes, which mentioned who soloed
in what order.)
I felt sort of stupid about it until listening to the whole thing with
a friend who plays jazz sax for a living (and is a notoriously sweet
player at that). He had a hard time at first also, but eventually pointed
out that Webster's lines almost always end with a breathy wwhoooooo.
We were still unsure about who was who on one cut, where my friend swore
one was deliberately imitating the other.
So I'm curious... what did we miss?
--
---------------------------------------------------------------------
Genie Baker gba...@umich.edu
Carl Condit
artists who I hadn't previously considered or known about. I started
listening to jazz about two years ago, and the Penguin Guide was my
Bible. I would never have heard Andrew Hill, Art Farmer, the Ganelin
Trio, and many other artists' work had it not been recommended in that
book. I have tried to get copies of all the five-star albums I could on
CD (and I haven't been able to get some of them) but my impressions of
them generally are excellent. The Brotzmann and Ganelin Trio are absolutely
spectacular, all the way through. (I'm not an audiophile, so the muddy
sound of the Brotzmann doesn't bother me in the least.) The Art Farmer
also a favorite, but I haven't heard the other Contemporary recordings
to see for myself if "Blame It" really stands above the others. The Sun
Ra is also fantastic, but I tend to like the later stuff more, like the
Heliocentric Worlds and sixties Evidence reissues. Still, "Jazz in Sil-
houette" is as good a place to start with Sun Ra as any, especially if
you haven't heard his stuff before. The Larry Young recommendation
induced me to purchase the Mosaic set, which is fantastic all the way
through. I probably would still have little tolerance for organ jazz
if it weren't for Larry Young. The John Zorn I haven't gotten into so
much, perhaps because I'm a big fan of the original Naked City album
on Elektra, which still blows me away every time I hear it. Mike
Patton, the lead singer of Faith No More and accomplice with Zorn in
Mr. Bungle, said of "Naked City" in Rolling Stone: "I love this album
because it makes me feel like an idiot!" This, to me, is the way to decide
whether music is 'great' or not. I also like "Spy vs. Spy", which Penguin
gives four stars, but the Morricone hasn't grown on me quite yet. The Basie
and Ellington sets are fantastic too, and since I'm not generally a big fan
of music from that era I don't have much to compare them to, except Benny
Goodman's Carnegie Hall Concert, which I think is just as much fun. The Dolphy
and McLaughlin and Tatum recordings all pass the idiot test for me. And the
Davis and Mingus and "Love Supreme", well, how could you not give five stars
to recordings of that quality? The Vienna Art Orchestra is quite interesting,
but it's not something I listen to a lot, although I like Satie generally.
I'm not a fan of jazz vocals (yet) so I haven't heard the Betty Carter. The
J.J.Johnson also passes the idiot test for me, just listening to him (is it
a trombone or a trumpet, for God's sake??), but I haven't heard the Manne set.
The other purpose such a list serves, of course is to make one frustrated
when these recordings are deleted or not available in the states!! Where is the
Edward Vesala?? How the heck do you get the Muggsy Spanier and King Oliver on
BBC? Does anyone in this country distribute that label? I haven't been able to
find anyone. And what about the Bobby Hutcherson?? Now that I've become a
Hutcherson convert through the recordings of Dolphy, Green, Hill, etc., as well
as the Connoisseur Series reissue of "Components" (highly recommended! go buy it
now!), how can I die a happy man until either Blue Note decides to reissue it
in the states, or Mosaic performs a miracle and does a Hutcherson box set? ARGH!!
(pant, pant) ;-) What's a completist to do? Is there a cure for this??
I hope this has been somewhat helpful.
--Carl Condit (mor...@ix.netcom.com)
Amos Omondi
>Eh, well, I'll jump on the bandwagon too.... Rather than name albums,
>I'll name some names which I haven't seen on any lists hereabouts....
>
>Steve Lacy...the best living saxaphonist hands down, nobody within three
>orders of magnitude of his league, with the remote possible exception of
>David Murray
>
Would someone please repost the obituary of Sonny Rollins?
Thanks.
Glenn Lea
The other purpose such a list serves, of course is to make one frustrated
when these recordings are deleted or not available in the states!!
Where is the ....
(pant, pant) ;-) What's a completist to do? Is there a cure for this??
Happily, no.
--
Glenn Lea
Glenn Lea
In article <Cwt1y...@efn.org> bsh...@efn.org (Ben Sharvy) blurts:
Steve Lacy...the best living saxaphonist hands down, nobody within three
orders of magnitude of his league, with the remote possible exception of
David Murray
Steve Lacy is one of my favorite musicians but I would never make such
a ridiculous claim. Why do you feel a need to say that? He would
certainly dispute it (he's a very modest musician who always claims
his bandmates to be superior to him). As for Murray, as much as I
love him, he's been recycling himself to death lately.
Bill Frisell... the best jazz guitarist ever, with the remote possible
exception of Jim Hall. Probably the greatest single jazz musician in the
universe today.
Now I like Bill Frisell a lot. But best guitarist ever? Fooey. And
that next sentence has to be the most ludicrous statement ever made,
no matter WHO is the object of your affection. Stop hyperventilating
and say something sensible.
That about sums up modern jazz.
HAHAHAHA.
You don't really need anybody else,
although I do like Henry Threadgill.
Oh, I don't need anyone else but you get to like Threadgill.
Everybody else just has some
attitude about "tradition" and plays bad.
WHO has the attitude here? You claim that 2, maybe 3 people are all
that are worthwhile in "modern jazz" and you say "Everybody else" has an
attitude?
The only jazz really worth
having is the old guys--Earl Hines, Lester Young, Billie Holiday, some
Duke, and Lacy and Frisell....Oh yeah, Paul Bley is great
too. Absolutely the greatest living piano player,
Right.
So there was no one of any value who came to prominence after 1940
other than your beloved Frisell, Lacy and Threadgill and Bley? Ever
hear of Miles Davis, John Coltrane, Charles Mingus, or Thelonious
Monk? Just to name four you might find worth listening to.
I feel a bit odd trashing you because your favorites are among mine
But I can't help it. Broaden your perspectives and quit making such
exclusionary and, yes, stupid, statements.
--
Glenn Lea
Vincent E. Kargatis
: Steve Lacy...the best living saxaphonist hands down, nobody within three
: Bill Frisell... the best jazz guitarist ever, with the remote possible
: although I do like Henry Threadgill. Everybody else just has some
: attitude about "tradition" and plays bad. The only jazz really worth
: having is the old guys--Earl Hines, Lester Young, Billie Holiday, some
: Duke, and Lacy and Frisell.
: Oh yeah, Paul Bley is great too. Absolutely the greatest living piano
: player, and horribly underappreciated. He's up there with the others.
I love all these people, but this post is the most extreme hyperbole I've
seen in a while! Add some salt, however, and it is pretty funny. :)
--
Vincent Kargatis|Rice U.|Houston TX|[http://spacsun.rice.edu/~vek/vek.html]
"It's in the tradition of parties in darkly lit rooms where men wrestled
you up against walls and grinded you to death until the break of dawn."
-- Cassandra Wilson, about her album BLUE LIGHT TILL DAWN
Frank Lepkowski
: In article <369530$o...@oak.oakland.edu>,
: Frank Lepkowski <lepk...@saturn.acs.oakland.edu> wrote:
: >: Coleman Hawkins meets Ben Webster
: >
: >Yes, this is great stuff! THe contrast between their styles is splendid,
: ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
: This is interesting. I had a tough time guessing which was which.
: (I missed the last sentence in the liner notes, which mentioned who soloed
: in what order.)
: I felt sort of stupid about it until listening to the whole thing with
: a friend who plays jazz sax for a living (and is a notoriously sweet
: player at that). He had a hard time at first also, but eventually pointed
: out that Webster's lines almost always end with a breathy wwhoooooo.
: We were still unsure about who was who on one cut, where my friend swore
: one was deliberately imitating the other.
: So I'm curious... what did we miss?
It doesn't sound like you missed much--Ben's breathiness and sensual
vibrato are one of the main distinctions between his sound and Hawk's. On
this record Hawk has a harsher, harder sound, and favors his more
arpeggiated style of improvisation, where Ben is more linear, and stresses
that magnificent tone of his, lays on a few notes for emphasis where Hawk
tends to play more notes. Often Hawk and Ben are thought of as very much
in the same line--no one would tend to place Ben in the Lester Young
lineage, for example, he's thought of generally as a Hawkins disciple,
which is why I love this record because it shows the fallacy of purely
pegging people by their supposed lineage. If you put em side to side and
listen close you hear the differences. It may help if you've been
listening to the record for 15 years or so, rather than on just a first
listen, for these distinctions to become apparent, or, rather, to delight
in them as much as I do; I don't know. But this record's been one of my
favorites for about that long, and has continued to grow on me over the
years.
Frank Lepkowski
Oakland University
R. Lynn Rardin
In a previous article, v...@spacsun.rice.edu (Vincent E. Kargatis) says:
>Ben Sharvy (bsh...@efn.org) wrote:
>: Steve Lacy...the best living saxaphonist hands down, nobody within three
>
>: Bill Frisell... the best jazz guitarist ever, with the remote possible
>
>: although I do like Henry Threadgill. Everybody else just has some
>: attitude about "tradition" and plays bad. The only jazz really worth
>: having is the old guys--Earl Hines, Lester Young, Billie Holiday, some
>: Duke, and Lacy and Frisell.
>
>: Oh yeah, Paul Bley is great too. Absolutely the greatest living piano
>: player, and horribly underappreciated. He's up there with the others.
>
>I love all these people, but this post is the most extreme hyperbole I've
>seen in a while! Add some salt, however, and it is pretty funny. :)
I thought so, too! I mean, wasn't this meant to be a joke??
--
-Lynn (rar...@auriga.rose.brandeis.edu)
Genie Baker
Frank Lepkowski <lepk...@saturn.acs.oakland.edu> wrote:
>Genie Baker (gba...@econ.lsa.umich.edu) wrote:
>: In article <369530$o...@oak.oakland.edu>,
>: Frank Lepkowski <lepk...@saturn.acs.oakland.edu> wrote:
>: >: Coleman Hawkins meets Ben Webster
>: >
>: >Yes, this is great stuff! THe contrast between their styles is splendid,
>: ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
>: This is interesting. I had a tough time guessing which was which.
>: So I'm curious... what did we miss?
>
>It doesn't sound like you missed much--Ben's breathiness and sensual
>vibrato are one of the main distinctions between his sound and Hawk's.
After posting, it occurred to me that I did think Webster's breathiness was
exaggerated on this album as compared to, say, Soulville. (Another album I
love, and picked up after seeing a recommendation here.)
--lots of interesting stuff deleted--
>listen close you hear the differences. It may help if you've been
>listening to the record for 15 years or so
I feel much better now; thanks! :)
>in them as much as I do; I don't know. But this record's been one of my
>favorites for about that long, and has continued to grow on me over the
>years.
I like it a lot too; was just puzzled by your mention of contrasting styles.
Makes sense now. Thanks!
Sean M O Donnell
>>Steve Lacy...the best living saxaphonist hands down, nobody within three
>>orders of magnitude of his league, with the remote possible exception of
>>David Murray
>>
>
> Would someone please repost the obituary of Sonny Rollins?
> Thanks.
Careful with the sarcasm, man! I think my heart skipped a beat there.
Whew. Now I think I'll lie down for a moment.
>
Frank D. Malczewski
>In article <36c0mc$1...@larry.rice.edu>
>v...@spacsun.rice.edu (Vincent E. Kargatis) writes:
>
>>I love all these people, but this post is the most extreme hyperbole I've
>>seen in a while! Add some salt, however, and it is pretty funny. :)
>
>we receive from Herr Buffalo. Carl Allen!!!
>
>-walt
>
>Walter Davis WALTER...@UNC.EDU
>Department of Sociology and ph: (919) 962-1019
>Health Data Analyst at the fax: (919) 962-IRSS
>Institute for Research in Social Science
>UNC - Chapel Hill
Well, I suppose this is as good a place as any...
I got Herr Buffalo (actually I think it was C-Note) to send me a promo copy
of the Carl Allen "The Pursuer" in exchange for a review of it on the net-
waves. So, briefly, it starts out pretty good actually. It wasn't until
maybe the fourth track that I started to nod off. So that means that
at least "The Pursuer" and "Hidden Agenda" weren't too bad, possibly
"Pinocchio" as well. The remainder did little for me except for the next
to last track "Preference Or Conviction" which was probably the most
interesting of the bunch.
Let me note that this a pretty typical session (you Lovano or JRedman fans
would likely feel right at home) for nowadays jazz, but this stuff does
little for me, more on the elevator music side of jazz (but I must note
that this is real jazz, not Kenny G and the like "jazz"), than the more
interesting stuff that I usually listen to / buy.
For something more interesting, go out and get the Kiermyer/Sanders disc
on Evidence, for example. (I promise not to post about it again, I just
think it's probably being overlooked...)
--
--
Frank Malczewski (f...@wlv.iipo.gtegsc.com)
Walter Davis
s...@csd4.csd.uwm.edu (Sean M O Donnell) writes:
>>>Steve Lacy...the best living saxaphonist hands down, nobody within three
>>
>> Thanks.
>
>Careful with the sarcasm, man! I think my heart skipped a beat there.
>
>Whew. Now I think I'll lie down for a moment.
>
artsy rag for what it's worth) just referred to the "dearly
departed Ornette Coleman." Not to worry, I've already sent
off the letter to the editor.
oh darn, I forgot to mention his MacArthur genius grant!
Walter Davis
>seen in a while! Add some salt, however, and it is pretty funny. :)
we receive from Herr Buffalo. Carl Allen!!!
R. Lynn Rardin
In a previous article, f...@WLV.IIPO.GTEGSC.COM (Frank D. Malczewski) says:
>I got Herr Buffalo (actually I think it was C-Note) to send me a promo copy
>of the Carl Allen "The Pursuer" in exchange for a review of it on the net-
>waves. So, briefly, it starts out pretty good actually. It wasn't until
>maybe the fourth track that I started to nod off...
I'd agree with you, Frank. I recently obtained a used copy of TP cheap
(I think it was $1.99 :). It's ok, but nothing special.
>Let me note that this a pretty typical session (you Lovano or JRedman fans
>would likely feel right at home) for nowadays jazz, but this stuff does
>little for me, more on the elevator music side of jazz...
I'd say that's a bit harsh. And I certainly wouldn't compare Lovano's work to
Allen's or Josh Redman's. Allen (and Redman to a certain extent, although I
like Redman's work quite a bit more than Allen's) is a "youngster" [hopefully]
still searching for a unique voice. Lovano, on the other hand, is a seasoned
veteran with a unique musical voice who never fails to hold my attention.
>For something more interesting, go out and get the Kiermyer/Sanders disc
>on Evidence, for example.
I plan to check this out, BTW.
--
-Lynn (rar...@auriga.rose.brandeis.edu)
TornCot
doesn't like any Jazz (and,sadly,this happens a lot) I whip out a Ben
Webster CD and play either "Danny Boy" or "It Never Entered My Mind."
They're always impressed. I like modern jazz although I haven't totally
come to grips with free jazz, but we should always remember that the old
guys were pretty good,too. I wish more of them were still among us.
Dave Krugman
Jerry LeBlanc
tune and Coltrane's AFRICA. Perhaps stuck would be a better word.
My friend Gregg got a copy, and I was trying to keep an open mind, but all the
while I kept hearing AFRICA instead of the line Carl Allen had intended. I
think he must have used similar chord changes. It's amusing to me, because
I probably would have bought the CD if only this tune had not been put on the
first track.
Sad perhaps, self-limiting perhaps, but very real. Has anyone else had a
similar experience?
P.S. You can get Columbia sampler tapes for free by mailing a postcard
to COLUMBIA JAZZ AUDIO FILES
550 Madison Ave
Room 2677
NY NY 10022-3211
or you can send a msg to the famous "C man" c/o buf...@panix.com
--
Jerry LeBlanc (714) 952-6711 . o c ,
LA/OC, CA "#v-- --v#" En garde.
/ > < \
leb...@ug.eds.com
Mark Zwolinski
>Please note that the recordings included in the _Penguin Guide_ are a
>function of what was in print c.1990 (in the UK?). Also, awarded ratings
>make allowances for factors such as relative sound quality, quality of CD
>transfer, etc.
1992, in fact. But there is a new edition of the guide, apparently due out
(in the UK) TODAY! I'll try to find it over the weekend and post comments
next week.
Mark
matt spitzer
wrote:
> > 53) Clifford Brown CLIFFORD BROWN/MAX ROACH INC. (Mercury 1955)
> > 54) Clifford Brown JORDU (Trip 1955)
Ah, thank you. I just popped my cassette of #s 53 and 54 into the old
machine and it reminded me of what I (IMHO) consider to be the most
outrageous omission from Penguin's list of 5 star recordings.
Jerry LeBlanc
Question: I have some recordings which were released by Delta-Music GmbH
(Germany) on CD, catalog number 11 064. They are labeled
Dizzy Gillespie - Sarah Vaughn - Charlie "Bird" Parker
HISTORICAL RADIO RECORDINGS
and they sound to me like vintage bebop. The principals are Dizzy and Bird.
The dates range from 1944 thru 1946, with the majority recorded in 1945.
Do these dates coincide with the famous recording ban/strike which was
discussed, debated, etc a couple of months ago?
Historians and authors, please help -- if these are "air checks" or some kind
of bootlegs, I would like to know. I hate to cheat anyone, but thank goodness
for the fan(s) who recorded this stuff!!
Also, I heard that this stuff was released on LaserLight at a bargain price.
If you love bebop and can tolerate a good amount of tape hiss, I would
recommend this collection.
1. My Melancholy Baby 1-12-45
2. Blue N Boogie 2-9-45
3. Loverman 5-11-45 Sarah Vaughn & Orchestra
4. One Bass Hit 5-12-46 Dizzy, Sonny Stitt, Milt...
5. That's Earl Brother 5-12-46 Jackson,... Kenny Clarke
6. Oop Bop Sh'Bam 5-12-46
7. All The Things You Are 2-??-45 Diz, Bird, Slam Stewart, ...
8. Dizzy Atmosphere 2-??-45 et al, "The D.G. Sextet"
9. East of the Sun 12-31-44
10. Shaw Nuff 5-11-45 Dizzy & All Stars
11. Hot House 5-11-45 Dizzy & All Stars
12. Mean To Me 5-25-45
13. A Handfulla Gimme 5-12-46
14. Cherokee 1-12-45
15. On The Alamo 1-12-45
Sandeep Mehta
> In article <367c8g$q...@tadpole.fc.hp.com>, ma...@sde.hp.com (Marc Sabatella)
> wrote:
> > I think Marcel (good to see you posting recently!) had a list I liked
> > better, but I think it was longer.
>
> Any chance of a repost?
Dusted off once again by popular demand.
/sandeep
> ============================================================
> Subject: "The best 150 records of all time" type lists...
>
> From: min...@usl.com (Marcel Franck Simon)
>
> Date: 03 Feb 1993 13:11:47 EST
> Newsgroups: rec.music.bluenote
> Organization: UNIX System Laboratories, Summit, NJ
> NNTP-Posting-Host: rahsaan.usl.com
> ============================================================
>
> > sme...@nynexst.com (Sandeep Mehta):
> > Heh, heh :-) Marcel the last time we spoke about this you said
> > 150/1500/15000/150000 albums respectively!! :-) :-)
>
> Yeah but I included blues here, 'cause I firmly believe you can't have a
> jazz collection without including lotsa blues and vice versa :-)
>
> > recommends for starters in his short list which he claims covers most
> > styles in the text JAZZ STYLES. Apparently a longer discography is
> > alluded to but I couldn't find it.
> [ list deleted ]
>
> Way back when mail.jazz was happening, someone had asked for the "start-up
> list of 100 albums", and I actually spent time compiling such a list.
> Well, I tend never to throw things away, so... (search, unarchive, blow
> away dust and voila!) Here it is, for your enjoyment. This is from:
>
> Jazz Mailing List, Volume 3, Issue 08
>
> Sunday, October 4th 1987
>
> I echo Sandeep's reminder to use this at your own risk :-) In particular,
> it is of its time, and does NOT reflect reissues since then. Nor does it
> reflect how the music (or my own tastes :-)) have changed in 5+ years :-)
>
> ------------------------------
>
> From: attunix!mingus Marcel Simon
> Subject: A list for Patrick Curran's friend
>
> Per Patrick Curran's request for his friend, I have put together a list
> of albums that would make a good start toward a comprehensive jazz collection.
> It is *not* in itself comprehensive; to sketch out all of jazz history would
> require on the order of 1,000 albums, not 100; a fully comprehensive jazz
> discography would require on the order of 5,000 albums, in my opinion.
> I say this knowing that the Rutgers Institute of Jazz Studies, which is
> probably as close to having *everything* as anyone ever will be, had some
> 60,000 records (piano rolls, 78s, 45s, 7, 10 and 12 inch LPs) as of five
> years ago; and according to Susan Griffin, who ran the place from day to day
> (at the time; she has retired) they had some "egregious" holes still.
>
> All that to say that this list is not *not* NOT *NOT* **NOT** complete.
> And sorry, Patrick, I could not get down to 100 records. Just to make 150, I
> had to combine several "Volume 1 and 2" into single entries. And thank God
> for anthologies that combine several albums' worth of material into one box.
> Any serious jazz fan could come up with a list that differs significantly
> from this one. That's OK, and I'd like to see what people would/would not
> include; that's how we get further into the music.
>
> The format is:
> Name TITLE (Label issue date; recording date(s)). A `-' issue date
> means "unknown"; a missing recording date means it's same as issue date.
> `-> (number)' means see number in the list for more by this artist. [CD]
> means get the CD rather than the LP. Otherwise LP and CD are equivalent.
> + means this is really two records (volumes) even though I have grouped them.
> * means out of print. I have made no effort to stick to records that are
> in print since there is a huge re-issue effort under way, and since with
> a little effort (and a bit more money :-) one can find most of this stuff.
>
> So without further ado:
>
> 1) James P. Johnson THE ORIGINAL JAMES P. JOHNSON (Folkways -; 1943-45)
> *or* JAMES P. JOHNSON (Biograph -; 1917-21)
> The latter has worse sound, but has the famous "Carolina Shout"
> 2) Luckey Roberts and Willie "The Lion" Smith HARLEM PIANO (Good Time 1958)
> 3) Fats Waller PIANO SOLOS (RCA -; 1929-41)
> 4) Louis Armstrong THE GENIUS OF LOUIS ARMSTRONG VOLUME 1 (Columbia 1975;
> 1923-33)
> -> (13) , (67)
> 5) LOUIS ARMSTRONG AND EARL HINES (Smithsonian -; 1928)
> 6) Earl Hines THE INDISPENSABLE EARL HINES VOLUMES 5 AND 6 (RCA 1982; 1944,
> 1964, 1966)
> 7) Bessie Smith NOBODY'S BLUES BUT MINE (Columbia 1965; 1925-27)
> Choosing this one is stricly personal preference. ANY WOMAN'S BLUES,
> THE EMPRESS, EMPTY BED BLUES and THE WORLD's GREATEST BLUES SINGER
> are all equally excellent
> 8) JELLY ROLL MORTON (Milestone -; 1923-24)
> 9) Sidney Bechet JAZZ CLASSICS VOLUMES 1 and 2+ (Blue Note 1952; 1939, 1940,
> 1945, 1946, 1951)
> 10) Fletcher Henderson DEVELOPING AN AMERICAN ORCHESTRA (Smithsonian -; 1923-37
> )
> 11) Duke Ellington THE WEBSTER BLANTON BAND (RCA 1987; 1940-42)
> 12) Duke Ellington ELLINGTON AT NEWPORT (Columbia 1956)
> 13) Duke Ellington ECHOES OF AN ERA WITH LOUIS ARMSTRONG (Roulette 1961)
> 14) Duke Ellington MONEY JUNGLE [CD] (BLue Note 1963)
> 15) Duke Ellington THE FAR EAST SUITE* (RCA 1967)
> 16) Count Basie THE BEST OF COUNT BASIE (MCA 1980; 1938-39)
> This period is also ably represented by SUPER CHIEF (Columbia 1972); GOOD
> MORNING BLUES (MCA 1977); and THE EARLY YEARS (Book of the Month Club
> Records 1982)
> 17) Count Basie APRIL IN PARIS (Verve 1955)
> -> (40)
> 18) Charlie Christian SOLO FLIGHT (Columbia 1972; 1939-41)
> 19) Lester Young THE ALADDIN SESSIONS (Blue Note 1975; 1945-48)
> 20) Lester Young BIRD AND PREZ: THE '46 CONCERTS (Verve 1977; 1946)
> 21) Lester Young PREZ AND TEDDY AND OSCAR (Verve 1976; 1952, 1956)
> -> (29) (22)
> 22) Coleman Hawkins CLASSIC TENORS (Flying Tenors 1971; 1943)
> 23) Coleman Hawkins DUKE ELLINGTON MEETS COLEMAN HAWKINS (Impulse 1962)
> 24) Coleman Hawkins TENOR GIANTS (Verve 1977; 1957, 1959)
> -> (10), (43)
> 25) Ben Webster ATMOSPHERE FOR LOVERS AND THIEVES (Black Lion 1965)
> -> (11), (24), (33), (37)
> 26) Lucky Thompson LUCKY STRIKES (Prestige 1964)
> -> (60)
> 27) Benny Carter FURTHER DEFINITIONS (Impulse 1962)
> 28) Benny Carter CARTER - GILLESPIE INC (Pablo 1976)
> -> (37)
> 29) Billie Holiday LADY DAY (Columbia 1955; 1935-37)
> 30) Billie Holiday STRANGE FRUIT (Atlantic 1972; 1939, 1944)
> 31) Billie Holiday ALL OR NOTHING AT ALL (Verve 1978; 1955, 1956)
> 32) Art Tatum MASTERPIECES (MCA 1973; 1941, 1944)
> 33) Art Tatum TATUM GROUP MASTERPIECES - TATUM/WEBSTER (Pablo 1975; 1956)
> 34) Charlie Parker THE VERY BEST OF BIRD (Warner Brothers 1977; 1946-47)
> 35) Charlie Parker BIRD/THE SAVOY MASTER RECORDINGS (Savoy 1976; 1944-48)
> 36) Charlie Parker THE GREATEST JAZZ CONCERT EVER (Prestige 1973; 1953)
> 37) Charlie Parker NORMAN GRANZ JAM SESSIONS (Verve 1976; 1952)
> 38) Dizzy Gillespie IN THE BEGINNING (Prestige 1972; 1945-50)
> 39) Dizzy Gillespie BIG BAND IN CONCERT (GNP 1954; 1948)
> 40) Dizzy Gillespie THE GIFTED ONES (Pablo 1979)
> -> (28), (36)
> 41) Thelonious Monk THE COMPLETE BLUE NOTE RECORDINGS (Mosaic 1983; 1947-49,
> 1951, 1957)
> 42) Thelonious Monk MONK (Prestige 1953)
> 43) Thelonious Monk BRILLIANT CORNERS (Prestige 1954)
> 44) Thelonious Monk MONK/TRANE (Prestige 1973; 1957)
> 45) Thelonious Monk LIVE AT THE FIVE SPOT (Milestone 1977; 1958)
> 46) Art Blakey MOANIN' (Blue Note 1958)
> 47) Art Blakey THE BIG BEAT (Blue Note 1961)
> 48) Art Blakey THREE BLIND MICE (United Artists 1963)
> 49) Art Blakey ALBUM OF THE YEAR (Timeless 1981)
> 50) Horace Silver BLOWIN' THE BLUES AWAY (Blue Note 1959)
> 51) Bud Powell THE COMPLETE BLUE NOTE RECORDINGS (Mosaic 1986; 1949-58)
> 52) Bud Powell THE GENIUS OF BUD POWELL VOLUME 1 (Verve 1976; 1949, 1950, 1951)
> -> (36), (69)
> 53) Clifford Brown CLIFFORD BROWN/MAX ROACH INC. (Mercury 1955)
> 54) Clifford Brown JORDU (Trip 1955)
> -> (55)
> 55) Sonny Rollins SAXOPHONE COLOSSUS AND MORE (Prestige 1975; 1956)
> 56) Sonny Rollins MORE FROM THE VANGUARD (Blue Note 1975; 1957)
> 57) Sonny Rollins WAY OUT WEST (Contemporary 1957)
> 58) Sonny Rollins THE FREEDOM SUITE (Riverside 1958)
> -> (41), (42)
> 59) Modern Jazz Quartet THE LAST CONCERT (Atlantic 1975)
> 60) Miles Davis WALKIN (Prestige 1954)
> 61) Miles Davis PORGY AND BESS (Columbia 1958)
> Choosing between this one an SKETCHES OF SPAIN (Columbia 1959) is purely
> personal preference; they are equally good
> 62) Miles Davis KIND OF BLUE (Columbia 1959)
> I think this is the greatest album of all time.
> 63) Gil Evans GREAT JAZZ STANDARDS* (World Pacific 1959)
> This is also part of an out of print Blue Note twofer called PACIFIC
> STANDARD TIME, which also includes a similar album of jazz classics
> called ROOTS, that features Cannonball Adderley.
> -> (61)
> 64) SARAH VAUGHAN (Mercury 1955)
> 65) Sarah Vaughan CRAZY AND MIXED UP (Pablo 1982)
> 66) Carmen McRae "LOVER MAN" AND OTHER BILLIE HOLIDAY CLASSICS (Columbia 1962)
> 67) Ella Fitzgerald ELLA AND LOUIS (Armstrong) (Verve 1957)
> 68) Ray Charles 25TH ANNIVERSARY SHOW BUSINESS SALUTE (Atlantic 1971; 1946-70)
> 69) Dexter Gordon OUR MAN IN PARIS (Blue Note 1963)
> GO (Blue Note 1962) is usually recognized as Gordon's best record; I prefer
> this one because of the presence of Bud Powell.
> 70) Jimmy Smith PRAYER MEETING (Blue Note 1964)
> 71) Wes Montgomery THE SMALL GROUP RECORDINGS (Verve 1976; 1965, 1966)
> 72) Cannonball Adderley 74 MILES AWAY* (Capitol 1965)
> 73) Bill Evans THE VILLAGE VANGUARD SESSIONS (Milestone 1973; 1961)
> 74) Bill Evans "PEACE PIECE" AND OTHER PIECES (Milestone 1975; 1961-63)
> In place of either of these one can pick up THE COMPLETE RIVERSIDE
> SESSIONS, a monstrous box issued in 1986
> -> (62), (101)
> 75) Art Farmer SING ME SOFTLY OF THE BLUES (Atlantic 1965)
> 76) Miles Davis MILES SMILES (Columbia 1966)
> 77) Miles Davis FILLES OF KILIMANJARO (Columbia 1968)
> 78) Wynton Marsalis BLACK CODES FROM THE UNDERGROUND (Columbia 1985)
> -> (49)
> 79) John Coltrane GIANT STEPS (Atlantic 1959)
> 80) John Coltrane LIVE AT THE VILLAGE VANGUARD (Impulse 1961)
> Taking this one over IMPRESSIONS is pure preference. LIVE has "Spiritual"
> and "Chasing the Trane" while IMPRESSIONS has "India" and the title tune.
> They're both great
> 81) John Coltrane A LOVE SUPREME (Impulse 1964)
> 82) John Coltrane BALLADS (Impulse 1963)
> -> (43), (62)
> 83) Lee Konitz MOTION (Verve 1961)
> 84) Joe Henderson THE STATE OF THE TENOR VOLUMES 1 and 2+ (Blue Note 1986)
> 85) Charles Mingus TIJUANA MOODS (RCA 1962; 1957)
> 86) Charles Mingus BLUES AND ROOTS (Atlantic 1959)
> 87) Charles Mingus THE COMPLETE CANDID RECORDINGS (Mosaic 1985; 1960-61)
> 88) Charles Mingus THE BLACK SAINT AND THE SINNER LADY (Impulse 1963)
> 89) Charles Mingus MUSIC WRITTEN FOR MONTEREY, NOT HEARD, PLAYED IN ITS
> ENTIRETY AT UCLA (East Coasting 1966)
> 90) Charles Mingus CHANGES ONE (Atlantic 1975)
> -> (36)
> 91) Eric Dolphy OUT TO LUNCH (Blue Note 1962)
> 92) Eric Dolphy JITTERBUG WALTZ* (Douglass 1976; 1963)
> -> (80), (87), (101)
> 93) Booker Ervin LAMENT FOR BOOKER ERVIN (Inner City 1976; 1965)
> 94) Randy Weston LITTLE NILES (United Artists 1958)
> 95) McCoy Tyner ECHOES OF A FRIEND (Milestone 1972)
> 96) McCoy Tyner ENLIGHTENMENT (Milestone 1973)
> 97) McCoy Tyner SUPERTRIOS (Milestone 1977)
> -> (80), (81), (82)
> 98) Jackie McLean LET FREDOM RING (Blue Note 1962)
> 99) Herbie Hancock MAIDEN VOYAGE (Blue Note 1965)
> 100) Herbie Hancock with VSOP LIVE UNDER THE SKY (Columbia [Japan] 1980)
> 101) Oliver Nelson THE BLUES AND THE ABSTRACT TRUTH (Impulse 1961)
> 102) Toshiko Akiyoshi INSIGHTS (RCA 1976)
> 103) Ornette Coleman THE SHAPE OF JAZZ TO COME (Atlantic 1959)
> I picked this one over CHANGE OF THE CENTURY and THIS IS OUR MUSIC
> literally at random. These three taken together show what Ornette
> was up to when he hit New York; they are incomplete when taken separately
> 104) Ornette Coleman FREE JAZZ (Atlantic 1960)
> 105) Ornette Coleman LIVE AT THE GOLDEN CIRCLE STOCKHOLM VOLUMES 1 AND 2+ (Blue
> Note 1965)
> 106) Ornette Coleman SKIES OF AMERICA* (Columbia 1972)
> 107) Ornette Coleman IN ALL LANGUAGES (Caravan of Dreams 1987)
> 108) Cecil Taylor THE WORLD OF CECIL TAYLOR* (Candid 1960)
> 109) Cecil Taylor NEFERTITI, THE BEAUTIFUL ONE HAS COME* (Arista 1973; 1962)
> 110) Cecil Taylor UNIT STRUCTURES (Blue Note 1967)
> 111) Cecil Taylor SPRING OF TWO BLUE JAYS* (Unit Core 1974)
> 112) Cecil Taylor SILENT TONGUES* (Arista 1975)
> 113) Albert Ayler WITCHES AND DEVILS* (ESP 1964)
> 114) Sun Ra SUNRISE IN DIFFERENT DIMENSIONS (Hat Hut 1979)
> 115) Sun Ra REFELCTIONS IN BLUE (Black Saint 1987)
> 116) Max Roach WE INSIST! FREEDOM NOW SUITE (Columbia 1960)
> 117) Max Roach THE LONG MARCH (Hat Hut 1980)
> 118) Max Roach M'BOOM (Columbia 1980)
> -> (36), (44), (53), (54), (55)
> 119) Art Ensemble of Chicago PEOPLE IN SORROW* (Nessa 1969)
> 120) Art Ensemble of Chicago URBAN BUSHMEN (ECM 1982)
> 121) Air AIR LORE* (Arista 1979)
> 122) Charlie Haden LIBERATION MUSIC ORCHESTRA (Impulse 1969)
> -> (103), (104), (107)
> 123) Tony Williams EMERGENCY* (Polydor 1969)
> -> (76), (77), (98)
> 124) Sam Rivers SAM RIVERS/DAVE HOLLAND VOLUMES 1 AND 2+ (IAI 1976, 1977)
> -> (125)
> 125) Dave Holland CONFERENCE OF THE BIRDS (ECM 1973)
> -> (124)
> 126) Andrew Hill JUDGEMENT* (Blue Note 1963)
> 127) Archie Shepp FOUR FOR TRANE* (Impulse 1964)
> 128) Archie Shepp LOOKING AT BIRD (Steeplechase 1981)
> -> (108), (136)
> 129) Wayne Shorter SPEAK NO EVIL (Blue Note 1966)
> 130) Wayne Shorter SCHIZOPHRENIA (Blue Note 1969)
> 131) Wayne Shorter SUPER NOVA (Blue Note 1969)
> 132) Wayne Shorter NATIVE DANCER (Columbia 1975)
> -> (47), (48), (76), (77)
> 133) Charles Tolliver LIVE AT SLUGS VOLUMES 1 AND 2*+ (Strata East 1972)
> 134) Keith Jarrett SOLO CONCERTS BREMEN LAUSANNE (ECM 1973)
> 135) Muhal Richard Abrams THE VIEW FROM WITHIN (Black Saint 1985)
> 136) Abbey Lincoln GOLDEN LADY (Inner City 1981)
> -> (116)
> 137) Arthur Blythe LENOX AVENUE BREAKDOWN (Columbia 1979)
> 138) Arthur Blythe ILLUSIONS (Columbia 1980)
> 139) Jack DeJohnnette ALBUM ALBUM (ECM 1984)
> 140) Amina Claudine Myers SALUTES BESSIE SMITH (Leo 1980)
> 141) Dewey Redman IN WILISAU (with Ed Blackwell) (Black Saint 1985; 1980)
> 142) Abdullah Ibrahim (Dollar Brand) WATER ROM AN ANCIENT WELL (Black Hawk 1985
> )
> 143) George Adams - Don Pullen LIVE AT THE VILLAGE VANGUARD VOLUME 2 (Soul Note
> 1986)
> -> (90)
> 144) Henry Threadgill WHEN WAS THAT (About Time 1982)
> -> (121), (147)
> 145) World Saxophone Quartet WSQ (Black Saint 1980)
> 146) World Saxophone Quartet PLAYS ELLINGTON (Nonesuch 1986)
> 147) David Murray MURRAY'S STEPS [Octet] (Black Saint 1983)
> 148) David Murray MORNING SONG [Quartet] (Black Saint 1984)
> 149) David Murray BIG BAND LIVE AT SWEET BASIL VOLUME 1 AND 2+ (Black Saint
> 1985-86)
> -> (139), (145), (146)
> 150) James Newton THE AFRICAN FLOWER (Blue Note 1985)
>
> --
> Marcel-Franck Simon min...@usl.com, usl!mingus
>
> " Papa Loko, ou se' van, ou-a pouse'-n ale'
> Nou se' papiyon, n'a pote' nouvel bay Agwe' "
>
> %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
--
Sandeep Mehta sme...@nynexst.com
Stephen Guattery
:>
:>Question: I have some recordings which were released by Delta-Music GmbH
:>(Germany) on CD, catalog number 11 064. They are labeled
:>
:> Dizzy Gillespie - Sarah Vaughn - Charlie "Bird" Parker
:>
:>The dates range from 1944 thru 1946, with the majority recorded in 1945.
:>
:>Do these dates coincide with the famous recording ban/strike which was
:>discussed, debated, etc a couple of months ago?
:>
:>Historians and authors, please help -- if these are "air checks" or some
:>kind of bootlegs, I would like to know. I hate to cheat anyone, but thank
:>goodness for the fan(s) who recorded this stuff!!
These are studio recordings that date from after the end of the recording
ban, and come from the following sessions: 1/12/45 was a Joe Marsala date
for Black & White; 2/9/45, 2/??/45 (2/28/45 according to Bregman, Bukowski
and Saks), and 5/11/45 were Gillespie sessions for Guild; 12/31/44 and
5/25/45 were Sarah Vaughan sessions for Continental; and 5/12/46 was a
Gillespie session (I believe this was for Musicraft). The Guild sides are
essential for any bebop fan, though this collection is missing "Groovin'
High" and "Salt Peanuts".
:>Also, I heard that this stuff was released on LaserLight at a bargain price.
:>If you love bebop and can tolerate a good amount of tape hiss, I would
:>recommend this collection...
I've heard the Laserlight release, and my recollection is that the sound is
pretty bad. Most of this stuff is available on better-sounding releases
from other labels, though nowhere (as far as I know) near as cheaply as
from Laserlight.
Steve Guattery
s...@cs.cmu.edu
Amos Omondi
Marc Sabatella <ma...@sde.hp.com> wrote:
>
>There is bound to be a different character to lists made "top down" versus
>"bottom up". That is, does one start by saying "we need 20 or so 5 star
>albums" and then choosing them to represent ones tastes, or does one simply
>award stars and then look up and see who ended up getting 5?
>
>The Penguin list strikes me as a bottom up list - it contains albums that
>struck them as great while they were listening to them. Whereas I tend to think
Depends on what you want. For someone who has a reasonable
idea of what jazz is all about, I think the Penguin is an
excellent idea. If, however, someone wants to learn about
jazz, then what they need is some representative collection
of good stuff, then the top-down approach is better. However,
the stars will then mean something different.
>"Charles Mingus Presents Charles Mingus" over any other Mingus; I don't see
Agreed. But then "Black Saint and ..." has several
unrivalled things about it: the title, the swipe at critics,
the analysis by Mingus's shrink (a whole star just for that),
... -:)
J...@thewire.com
1/12/45 session was originally for Phoenix Records and was the first
session under Dizzy's name. 2/9/45 was for Guild and on 2/28/45 All the
Things and Dizzy Atmosphere were for Musicraft. 5/11/45 was for Guild and
your 5/12/46 cuts were really on 5/15/46 for Musicraft. East of the Sun was
a Sarah Vaughn date for Continental.
As you can see these were all legitimate record date for small companies.
Some of them were re-released on Savoy and some are on a Smithsonian
collection about Dizzy. This sounds like a good deal. I'll look for it on
Laserlight.
Joe Medjuck
C man
: of the Carl Allen "The Pursuer" in exchange for a review of it on the net-
: waves. So, briefly, it starts out pretty good actually. It wasn't until
: maybe the fourth track that I started to nod off. So that means that
: at least "The Pursuer" and "Hidden Agenda" weren't too bad, possibly
: "Pinocchio" as well. The remainder did little for me except for the next
: to last track "Preference Or Conviction" which was probably the most
: interesting of the bunch.
: Let me note that this a pretty typical session (you Lovano or JRedman fans
: would likely feel right at home) for nowadays jazz, but this stuff does
: little for me, more on the elevator music side of jazz (but I must note
: that this is real jazz, not Kenny G and the like "jazz"), than the more
: interesting stuff that I usually listen to / buy.
Frank, thanks for the listen and the words.
C man
--
Call Congress for FREE--join WORKING ASSETS LONG DISTANCE--
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and Human Rights. Special offer to ONLINE USERS: 90 minutes of free long
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C man
: I listened to THE PURSUER and was struck by the similarity between the first
: tune and Coltrane's AFRICA. Perhaps stuck would be a better word.
: My friend Gregg got a copy, and I was trying to keep an open mind, but all the
: while I kept hearing AFRICA instead of the line Carl Allen had intended. I
: think he must have used similar chord changes. It's amusing to me, because
: I probably would have bought the CD if only this tune had not been put on the
: first track.
: P.S. You can get Columbia sampler tapes for free by mailing a postcard
: to COLUMBIA JAZZ AUDIO FILES
: 550 Madison Ave
: Room 2677
: NY NY 10022-3211
: or you can send a msg to the famous "C man" c/o buf...@panix.com
Not true, Jerry, I was simply offering my only copy to spread the word
about Wynton's _In This House..._ CD
Jeff Preston
In a previous article, buf...@panix.com (C man) says:
>Not true, Jerry, I was simply offering my only copy to spread the word
>about Wynton's _In This House..._ CD
Yeah, I see your biography entry in _Who's Who_ now: C man; employed
by C Notes Interactive; promoter, huckster, snake-oil salesman and
beloved philanthropist concerned about the environment and inexpensive
long-distance telephone rates.
Jeff
--
Jeff Preston =*= Moderator of the Allan Holdsworth discussion forum
=*=*=*=*=*=*=*=*= atavachro...@msuacad.morehead-st.edu =*=*=*=
eri...@delphi.com
it is so weird is "Sonny (Rollins) meets Hawk (Coleman Hawkins)"
This record is truly psychedelic music, with Sonny off to the moon and
Hawk, near the end of his career, right at his heels. Talk about true
spontaneity! And this talk of other saxophonists is utterly ridiculous
by the way when Sonny is still alive and playing his ass off--although
That comment about Paul Bley is true--and he
is the pianist on "Sonny meets Hawk", adding his own genius for the
unexpected and beautiful strangeness.)
Minorkeys
gba...@econ.lsa.umich.edu (Genie Baker) writes:
Just a few favorites:
Coltrane "The Gentle Side of John Coltrane"
"Coltrane Plays The Blues"
Miles Davis "Workin'", "Relaxin'", "Steamin'"
Charles Mingus "Mingus Ah Um", as abovementioned
Minorkeys
writes:
A lot of the debate in this forum has been old vs. new, avant-garde vs.
mainstream. Since I am a jazz player/hobbyist who plays pretty
mainstream, I am quite biased BUT let me mention
Joe Henderson Lush Life
So Near So Far
There are a lot of great saxaphonists alive and dead -- and they tend to
sound like each other fairly often. The reason this forum has emphasized
Coleman Hawkins, Ben Webster, Lester Young is that they established the
major technical styles of the saxophone (Hawk = mellow, Young = fast and
technical). But musicians contribute both form and technique -- I like
Joe Henderson for doing both.
A few others:
Wes Montgomery "Plays The Blues" -- hard to pick a specific Wes album but
put him in somewhere.
More Mingus "Changes One"
Wayne Shorter -- try "Best of" on Blue Note
Chick Corea -- different people like different eras -- I go for "Tones for
Jones Bones".
More later.
Tom Brown
>
>Hawk = mellow, Young = fast and technical.
I'd say you have that backwards.