Jazz for aficionados

****I decided that Frogman would be better than any of us to respond to whatever he was talking about, but no Frogman.****

Hmmm......let’s see. How about just a small sampling of recent possible reasons why no Frogman; shall we?:

****it’s been evident your only objective is to destroy this thread; I call it "jealously".****

****That’s the kind of snarky sh-t you have been posting for some time.****

****Your evaluation my dear sir, indicates you are in the "Junior League" of aficionados.****

****Every Time things are running smooth on this thread you rock the boat****

****then you must be lost in the woods.****

****Frogman, that is the most ludicrous statement you ever made.****

****While you are most certainly entitled to your own opinions, some of them sound like you been smoking da splif mon.****

****That sentence is total 100% BS; ****

O-10, hopefully, one of these days you will understand that your behavior is not only not condusive to good dialogue, it sucks.

Now, good natured chap that I am 😇 (or sucker....probably) I watched your clip. Please explain to me what it is you don’t understand about the commentary in that clip; you can tell me where (timing) on the tape the comment is made. I can’t for the life of me find anything remotely mysterious or remotely difficult to understand in it.

Love Red Garland, btw.

Frogman, when I clicked on that link, I expected to hear music, not a lot of "Blah Blah Blah". I thought it might relate to something you knew and cared about. But now we're moving on to the next thing.

BTW, one of the reasons we have so many viewers, and so few participants, is because it takes effort, and some sort of intellect to contribute to this thread; I say to participants on this thread, pat yourself on the back for the effort you have made to keep this thread going.

I was a teenager when I became interested in jazz; at that time, nothing was more important than girls and cars. I liked to hear the music, but I didn't take the time to read the covers; which means I gave little importance to the "sidemen". Now that I'm an old man, I done forgot what girls are for, and cars are for going to the drugs store for prescriptions.

The sidemen I neglected to focus on are now the primary focus for discussion. Could you suggest a sideman you would like to put in the spotlight.


Enjoy the music.

****Perhaps the right question wolud be why they did not make any more music in this line up?****

Very interesting question, Alex.  Speaking of "mysterious", it's always interesting to try and solve mysteries like this.  Very nice record "Red's Good Groove", and it does beg the question "why only one session"?  

The easy answer might be as easy as "scheduling conflicts".  These were busy players and it would not be terribly unusual for the scheduling stars to not have aligned.  Maybe.  A more interesting reason might have been related to the thought I had the first time I heard this record: "Donald Byrd/Pepper Adams". The baritone saxophone/trumpet front line is an extremely distinctive sounding front line in hard bop.  How many can you think of?  By the 60's the Adams/Byrd Qt. had become very popular and in demand, it's possible that Garner's band's sound was thought by producers to be too reminiscent of the Byrd/Adams sound.  It's important to remember that Garner's recording group was not a working band.  As usual, the most likely reason had to do contractual issues.

Garner's record was recorded in '62; a year after Byrd/Adams disbanded and this probably invalidates possible reason #2.  That very year Adams signed an exclusive recording contract with Motown (!?) records; actually, their jazz subsidiary "Workshop" Records.  As an interesting aside, because of the nature of most of Motown's music, it frequently uses the baritone saxophone.  It would not be surprising to me if Pepper Adams played baritone in the horn sections in many Motown soul sessions.  Adams recorded one solo record with that label "Pepper Adams Plays Charlie Mingus".

The  Byrd/Adams Quintet, besides being a fantastic group, was notable for introducing Herbie Hancock to the record listening public with the 1961 release "Royal Flush":

https://m.youtube.com/playlist?list=PL9411D061AEE3FDD9

Frogman, that's a fantastic contribution;

Donald Byrd - trumpet
Pepper Adams - baritone saxophone
Herbie Hancock - piano
Butch Warren - bass
Billy Higgins - drums

Now I can listen without wandering what's Mustang Sally up to, or, is Susie Q. back in town. This music sounds ever so good; Pepper Adams, and Donald Byrd go together like bacon and eggs, you can't have one without the other.

Herbie Hancock sounds real good, but has not yet established himself as "The Herby Hancock".

The music overall is good, that's a tribute to Donald Byrd, he always comes through. The records of his that I sold, I had to buy them back. They were sold because I hadn't adjusted to his "new" music; this record is before his "new" music, and is straight ahead jazz.


Enjoy the music.

Frogman, When I listened to this recording I thought it might just be up your alley.

"Havana Moon" by the TransAtlanticEnsemble. A fusion of Latin Jazz and Classical music. In a couple of cuts I’m reminded of Stravinsky’s Shadow Dances. It is predominantly a piano and clarinet duo. It is on a Steinway & Sons CD.

O-10, somehow I don’t think you would find this music particularly interesting. I could be wrong, just a guess.