Jazz Collector Listener’s Guide, Nov. 28, 2008
It’s Friday, the day after Thanksgiving and, for some reason, this seems a day to sit around and do nothing except listen to music. So I have been in my music room poring through records and putting on some favorites that I don’t listen to all of the time, or haven’t listened to on vinyl in a while. I started with an old Riverside, Bags Meets Wes, Riverside 407. This was recorded in December 1961 and features a great rhythm section of Wynton Kelly, Sam Jones and Philly Joe Jones, in addition, of course, to Milt Jackson and West Montgomery. Side one starts with a blues, “S.K.J” and then Stablemates, Stairway to the Stars and another blues, Blue Roz. I got involved listening to Philly Joe on brushes, which is always a miracle, and that led me to Sonny Rollins, Tenor Madness, Prestige 7047, not Side One with Coltrane, but Side Two featuring Paul’s Pal, with some great Philly Joe brushwork, then My Reverie and The Most Beautiful Girl in the world.
From there I was interested in more Sonny but from a later period, and turned to Sonny Rollins, What’s New, RCA 2576, specifically If Ever I Would Leave you. Some great guitar by Jim Hall and very percussive Rollins. Did you know that this was the first album in the U.S. that featured the term Bossa Nova? From 1962, and the cover on my record actually as a stamp that states “Bossa Nova.” The liner notes describe “a new beat that will be heard often again as fresh elements continue to be absorbed into the ever-bubbling world of jazz.” The idea of something new and fresh got me thinking about Monk and now I’m listening to Thelonious Monk Criss-Cross, Columbia 2038. I know the Monk Prestiges, Blue Notes and Riversides are the collectibles, but for my money this is the Monk record I’d want if I was stuck on a desert Island and could only choose one. It’s from the mid-1960s and features Monk in a relaxed setting with his regular quartet of Charlie Rouse, Frankie Dunlop and John Ore. This album features a mix of Monk swingers, such as Hackensack and Rhythm-A-Ning, a beautiful version of Crepuscule With Nellie and even a couple of standards, Don’t Blame Me and Tea for Two.
That’s my listening day so far. What about you? What would you put on if you had a couple of hours to kill on a lazy day? If you reply, I’ll automatically put your name in the contest next time we give away a free record, which will be before the end of the year.
Al: your observations regarding Thanksgiving day were well noted here, obviously a foreigner would not dare to make them! With respect to the motives of those coming to your shores, you forgot to mention the empty stomach (the Germans in the 30 years war, the Irish and Scandinavian famine, poverty in Italy, Greece and Central/So. America).
How did I spend this weekend? I dug out an old favourite of mine: the Melrose Avenue Conservatory Chamber Orchestra. Does that ring a bell with you? Further I listened to “Blue Serge” on Capitol. Chaloff is a giant on his instrument, who has the magic to fascinate more than his contemporary, G. Mulligan. From there I went to 2 other West Coast sessions animated by Philly Joe: Art Pepper and the Rhythm Section on Contemporary and Chambers’ “a jazz delegation from the East” with Trane on Imperial, the latter album, for me being the least convincing. The incredible versality of Philly is at the basis of 3 interesting saxophone + rhythm sessions, all recorded in L.A.! I wonder whether Miles was in the area at each occasion. It seems he was, for the Pepper and P.C. session. How about Serge’s? Would anyone know?
Very interesting — looked at the cover of Blue Serge and on the front cover it lists Joe Jones, leaving out the “Philly.” Not sure if he’s referenced without the Philly elsewhere? This was recorded March 1956, and so was A Jazz Delegation From The East, so you’d have to assume the Miles quintet was playing there at the time, no?
I think Blue Serge is the only cover omitting “Philly”. For Capitol, I think, he was just an unknown drummer. They did not bother for details or wanted people to believe he was Jo Jones?!
You are right, we must assume Miles was there, view Trane’s presence in the same period.