Date:	22-May-1998 03:23:05
From:	Paul Abella (Pabella3@aol.com)
	a few for you to ponder: 1) Chuck Israels: after the shadow of Scott LaFaro, anyone would seem inadequate, but if you've ever just sat back and listened to the man he's quite an extraordinary player. Pick up the Herbie Mann/Bill Evans disc "Nirvana" and you'll see what I mean. 2) Woody Shaw: Finally some people are getting hip to this guy, but man, it sure as hell took long enough. I think with the exception of Joe Henderson, anyone who was ever a full blown sideman for Horace got the shaft. Blue Mitchell, Junior Cook, the list goes on... (actually, the well resourced jazz aficianado could tear me to shreds on that one, but it's late, so give a guy a break) 3) Garvin Masseaux: hey, the dude played a mean tambourine on those mid sixties Grant Green sides... 4) (and finally) Keith Jarrett. Yeah that's right, Keith Jarrett. I don't know about the rest of the country but here in Chicago, everybody I know bad mouths poor Keith. the dude could outplay 90% of all other keyboardists in his sleep and people pan him left and right. If people keep hating him at this rate, he'll be able to apply for membership as a Marsalis brother real soon. Keep Your Ears Open, Paul

 

Date:	24-May-1998 21:07:53
From:	Dan Sermeno
	Most underated? Hands down, Lee Morgan. the man was extraordinary in mixing street rhythms with the the complexities of the post-bop period of the late 50's and 60's. His music unified all idioms of music. In 1968 I heard no inconguity in playing "Caramba" next to James Brown's "Kansas City" from "Live from the Apollo", next to Lee's "You Go To My Head" and then to "I Just Want to Testify" by Parliament. His music unified and yes, you can even dance to it. If you want to take jazz to an even higher, more soulful and sensual level, listen to "Croquet Ballet" from his last album, Lee Morgan. To paraphase the liner notes on "Caramba", "the man knows how to use space"!

 

Date:	25-May-1998 20:55:25
From:	Karen Angela Moore (MOORETUNES@aol.com)
	MOSE ALLISON. I finally saw him live this month. What an unbelievable musician. He sounds like no one else. He played to a sold out crowd here in Nashville (Yeah that's right) and we were all blown away. The man is a master.

 

Date:	26-May-1998 14:41:34
From:	James Lithgow
	Most underrated sax player - Art Ellefson..he has two CD's out, As If To Say on Sackville records, and Time To Waitfeaturing Kenny Wheeler and Ian McDougall on his own Jazz Modus label. Art was a feature player at Ronnie Scott's in London back in the 60's. cheers, James

 

Date:	27-May-1998 11:27:57
From:	Lawrence E. Tamanini (Rex01@msn.com)
	PAT MARTINO !!!! Most overlooked,no doubt about it! Most worthy of attention,again no doubt about it! Always on the edgepushing musical boundries further and taking musical risks no otherjazz guitarist out there today would dare to take! Reason hes' overlooked----Pats' a no compromise, give it all you got musician! Furthermore,Pat is a guitartist and the snobs in the world of jazz always downplay the guitarist.Everyonce in a blue moon, yeah, we'll hear of one or two players but on the whole,forget about it.

 

Date:	28-May-1998 19:30:11
From:	Pedro Moreno (carbuncle@mail.utexas.edu)
	Tony Coe, Wadada Leo Smith, Joe Harriot, Billy Harper, Dave Burrell, Odean Pope, Steve Potts, Arthur Doyle, Milford Graves, Joseph Jarman, Louis Moholo, Bern Nix, Joe McPhee, Leroy Jenkins, Martial Solal, Fred Hopkins, Lucky Thompson, Baby Dodds, Lol Coxhill, Trevor Watts, Albert Mangelsdorff, Bobby Few, Big Jay McNeely, Khan Jamal, etc

 

Date:	29-May-1998 04:39:59
From:	jim smith (smithj@pbs.port.ac.uk)
	One of the great joys of being an avid jazz fan is that we keep meeting new players,especially with so many reissues now on the scene.When I write of new it is not in the sense of todays musicians but of those who have paid their dues and have slipped out of the limelight.Three forgotten players come to mind at this time,BREW MOORE,TONY FRUSCELLA and BILL TRIGLIA.

 

Date:	29-May-1998 15:25:37
From:	John Prince (jhp@webtv.net)
	I will second most of those listed above and add: Gerald Wilson, Harold Land, Teddy Edwards, Frank Rosolino, Clare Fischer, Gary Foster, Carmel Jones, John Park, Stanley Turrentine, Richard "Groove" Holmes, Henry Cain, Shirley Scott, Pete Christlieb, Bill Perkins Jack Sheldon, Bill Mathieu, John Clayton, Jim Cox, Jay Anderson, Irene Krail, Bill Hollman, Billy Higgins, Jerome Richardson, Thad Jones, Bob Brookmeyer, Dee Barton, Mike Barone, ete., etc., etc.

 

Date:	29-May-1998 16:03:08
From:	Steve Smith (mmp@cruzio.com)
	There are so many that space becomes an issue. I would like to put forth the names John and Jeff Clayton. Many years ago I had the pleasure of playing with Jeff. He was a remarkable musician then...25 years ago...and he gave me the gift of his knowledge. John is his equal, and a magnificent bassist. Let us not forget Frank Rosolino, whose musicianship outshone his demons.

 

Date:	02-Jun-1998 12:32:45
From:	simon (rakim1@mailexite.com)
	I feel that Grant Green was probably the most individual jazz guitarist that was around during that Golden Age of the Fifties and Sixties. Even through to the early funk period he still had that feel for the blues in every note he played.

 

Date:	05-Jun-1998 19:49:02
From:	Jeff (jeff_balan@warnerbros.com)
	Andy LaVerne, John Pisano, Lyle Mays, Renee Rosnes, Bill Stewart, Kenny Wheeler, Gary Peacock, Claire Martin, John Taylor and Alan Broadbent to name a few

 

Date:	09-Jun-1998 17:01:57
From:	Patrick Monnier (pmonnier@al.wpafb.af.mil)
	Philip Catherine His "Mood" albums and his duo with Henning Ostred Peterson... Comments?

 

Date:	10-Jun-1998 16:52:37
From:	Josip Seidl (josip.seidl@swipnet.se)
	In my fiffty years of listening to hundreds of excellent guitarists I feel that Frank Potenza and Barry Zweig are really worth listening.Keep on swinging guys!

 

Date:	15-Jun-1998 07:03:50
From:	max (ubertall@measn0.isim.univ-montp2.fr)
	james carter ! of course his last record (in carterian fashion) sounds sometimes more as a demonstration of what he is able to do with a saxophone than as music, but "jc on the set" and the exceptionnal "jurassic classic" are worthy of attention. many of his concert are fabulous, even if any are too much technical and less musical, but he is able to do great things

 

Date:	17-Jun-1998 21:21:16
From:	Peter Kenyon (kenyonp@cbs.curtin.edu.au)
	Johnny Coles - his work on Herbie Hancock's 'The Prisoner' is just brilliant. Alas, I have not heard much else from him. I am seeking out his only Blue Note "Little Johnny C" with great anticipation. Cheers Peter

 

Date:	18-Jun-1998 10:15:09
From:	Brian Longley (longley@macalester.edu)
	Living in the midwest, I was so lucky to catch the Maria Schneider Jazz Orchestra live at Visiones in NYC last September. A few weeks later the club closed. She had played there every Monday night, shaping one of the finest progressive big bands out there. She is the one true heir to Gil Evans - her mentor and teacher. I submit that her recording "Coming About" (Enja) is a masterpiece...

 

Date:	23-Jun-1998 03:38:03
From:	Thierry Berney (thierry.berney@hcuge.ch)
	Bobby Hutcherson ! If BH had been playing a horn, he would certainly be known as (one of) the greatest post-bop jazz musicians ! Any and all of his Blue Note recordings are pure jewels of invention, musicality and freedom. Cheers!

 

Date:	19-Jul-1998 03:54:45
From:	reid (rtt5@gte.net)
	Any Andrew Hill fans out there. I just discovered him last year, and I can't believe there's so little talk about him. He really has dealt with Monk's influence in an interesting and personal way.

 

Date:	22-Jul-1998 10:19:56
From:	David Whiteis (whiteis@ipfw.edu)
	Lucky Thompson (on tenor, at least) --

 

Date:	05-Aug-1998 10:50:52
From:	G. Gomez (bluechrome@onramp.net)
	Frank Tiberi, tenor sax, director of Woody Herman Orchestra and Coltran scholar - extremely underrated!

 

Date:	07-Aug-1998 17:14:29
From:	Richard Thurston (rcthurston@worldnet.att.net)
	Most Underrated. It is almost impossible to choose a 'most-underrated' figure from the field of jazz/improv. Everyone in the area is underrated. However Abdullah Ibrahim is especially undervalued. As a performer, composer and teacher Ibrahim brings such dignity and respectto the music it makes him unique.

 

Date:	16-Aug-1998 21:11:15
From:	gideon belete (gbelete@aol.com)
	JOHHNY HARTMAN - VOCALS LEE MORGAN - TRUMPETS GRANT GREEN- GUITARS ABDULLA IBRAHIM, BILL EVANS - PIANO

 

Date:	19-Aug-1998 13:07:24
From:	Mike O'Sullivan (mike@barnaby0.demon.co.uk)
	Herb Geller is one of my "most under-rated" I saw him in Nice a few years ago with the Oliver Jones trio. A wonderful creamy singing tone, marvellous articulation and melodic invention.i

 

Date:	18-Sep-1998 09:55:37
From:	Molefi Kau (Molefika@ga.co.za)
	For me the most overlooked artists are Bheki Mseleku,check out his albums Celebration,Meditations and Timelesness are works of beauty. Julian Joseph, Kenny Garrett and Teodross Avery deserves a worthy mention here...what do you think?

 

Date:	18-Sep-1998 12:38:12
From:	Larry Stephan
	I recently have been listening to Joe Locasio's solo piano CD called "Home". His previous two trio CDs are good, too. It just seems that he is almost unknown but extremely talented.

 

Date:	23-Sep-1998 13:52:05
From:	Steve Rusk (srusk@aol.com)
	Oscar Pettiford: He never used any of the cheap tricks that so many bassists use, tricks that the instrument lends itself to, but rather, played long lyrical lines improvising in the truest jazz sense of the word, and yet, like Monk, you can always find the melody. That's important; that's why tunes are written, to be played, and Oscar picked the meat off the bones, no doubt. Just listen to Monk's Riverside recordings: "It Don't Mean A Thing (If It Ain't Got That Swing), Mood Indigo, Honeysucle Rose, etc., all timeless! Also, Albert Stinson: Althought the discography is scant, he said some beautiful things with Chico Hamilton and Charles Lloyd on "Forest Flower" and others. Too bad he died a premature death that seems to be the lot of too many jazz bassists. Also, Aaron Bell, who played well with Ellington. If the bass ever had a doctor, it is Aaron. A melodic time-keeper in a Big Band setting; quite rare, especially for one who had to walk in the shadow of Jimmy Blanton. Beautiful music.

 

Date:	24-Sep-1998 17:03:12
From:	henry mars (hmars@voicenet.com)
	Ritchie Cole .... one of the best alto sax players in the business ..... seems like in most peoples mind he is an also ran .... but he is one of the greats!

 

Date:	28-Sep-1998 02:33:16
From:	Minta (minta@naftinc.com)
	benny green. his album "greens"....it's amazing. and he's got a few tracks on this Ray Brown album entitled "some of my best friends are the piano players" his version of Lover is incredible.

 

Date:	28-Sep-1998 02:34:19
From:	Minta (minta@naftinc.com)
	i almost forgot. cannonball adderley. mccoy tyner, gene harris--NOT nearly enough.

 

Date:	10-Oct-1998 20:19:22
From:	Jonathan Kranz (jonkranz@mediaone.net)
	Underrated? The guitarist Bucky Pizzarelli, without a doubt! A gifted, brilliant improviser of impeccable skill and taste, Bucky is today more likely to be known as John Pizzarelli's father than for his own efforts -- a great shame, since the chip can't hold a candle to the block's guitar talent! Look for a collaboration with Bud Freeman, "Bud and Buck." Their duos are staggering!

 

Date:	10-Oct-1998 21:41:10
From:	earl d. (eldphd@infohwy.com)
	June Christy

 

Date:	12-Oct-1998 16:28:16
From:	Weasel's Girl
	Joe Williams ... amazing, but I'm always startled by how many supposedly well-versed jazzers don't really know who he is! Eddie Johnson, tenor sax (based in chicago) played w/ Louis Jordan & Coleman Hawkins in the 40'w & 50's -- still going strong at 77. he's my all-time favorite

 

Date:	16-Oct-1998 21:43:04
From:	John Barrett Jr. (johnbarrettjr@yahoo.com)
	Budd Johnson. He had a fifty-year-plus career in music, usually in big bands, and is not remembered much today because he rarely got the chance to lead on record. The two albums of his I own BUDD JOHNSON AND THE FOUR BRASS GIANTS, and LET'S SWING are marvelous feel-good albums, with BRASS GIANTS showing off his arranging skills to good effects (he arranged for Earl Hines while playing in his big band.) Marvelous player; deserved more attention than he got.

 

Date:	20-Oct-1998 10:44:22
From:	michael+bell (makullas@indigo.ie)
	most underrated?- freddie webster, leon thomas, carla bley rudy williams - 4 out of many.

 

Date:	28-Oct-1998 16:49:21
From:	ADR
	James Spaulding - tenor sax, flute Best known for his work with Freddie Hubbard in the 60's. Check him out on Freddie Hubbard's Blue Note album "HubTones". This guy could play with anybody.

 

Date:	12-Nov-1998 15:50:59
From:	Roger (rogr.crane@losangeles.af.mil)
	They are ALL underrated. (Jazz is a minority art.)

 

Date:	24-Nov-1998 05:58:50
From:	Marco Bertoli (mbertoli@micronet.it)
	Don Byas, tenor saxist (d. 1972). Very popular from late '30 to early '50, especially in Europe, and today a bit neglected, he's in my opinion the most outstanding fruit of Coleman Hawkins' "school", a mainstreamer with the rythmic freedom of a bopper and an incredible (for a musician of his generation) harmonic knowledge. His sound on records resulted even fuller and more majestic than Hawkins' itself.

 

Date:	04-Dec-1998 07:42:54
From:	José Domingos Raffaelli (jdr@musicshop.com.br)
	There are so many, but I'll stay with a bunch of wonderful musicians I believe are or were very important: WARDELL GRAY - one the most fluent musicians of all time. His lines were logical but always surprising. He always played great solos. He wasa favourite of CHarlie Parker, Count Basie and Benny Goodman (who used to say he hated bebop, but said "if Wardell play bebop, I like it"). He died at 34, in 1955, and I assume he would be one of the all time greats (like Dexter Gordon) if he lived longer. By the way, hear the "battles" between Wardell and Dexter in the early 50's and hear how Wardell was a far better musician than Dexter at that time. LUCKY THOMPSON - another musician neglected who always was so consistent to the point that never recorded an inferior solo. The trouble with Lucky is that he always had arguments with emprezarios and made many enemies, losing so many opportunities to play. I like his beautiful sound, his personal approach to play a ballad and his personal conception to construct a solo. I enjoy many of his records, especially LUCKY IS BACK (for his Rivoli label), LUCKY STRIKES (Prestige, an overlooked album with some of his greatest solos), the trio efforts with Oscar Pettiford for ABC-PARAMOUNT (I don't know if it has been issued in CD) and the one he made in Spain with Tete Montoliu (issued on the USA by Nessa), to name just a few. Let's remember he also recorded some sides with Charlie Parker for Dial in 1946 and with Dodo Marmarosa around the same time in Los Angeles. He made many records in Europe, where he lived several periodos from 1956 on. DUKE JORDAN

 

Date:	04-Dec-1998 07:58:41
From:	José Domingos Raffaelli (jdr@musicshop.com.br)
	There are so many, but I'll stay with a three wonderful musicians I believe are/were very important: WARDELL GRAY - one the most fluent musicians of all time. His lines were logical but always surprising. He always played great solos. He was a favourite of CHarlie Parker, Count Basie and Benny Goodman (who used to say he hated bebop, but said "if Wardell play bebop, I like it"). He died at 34, in 1955, and I assume he would be one of the all time greats (like Dexter Gordon) if he lived longer. By the way, hear the "battles" between Wardell and Dexter in the early 50's and hear how Wardell was a far better articulated musician than Dexter at that time. LUCKY THOMPSON - another musician neglected who always was so consistent to the point that never recorded an inferior solo. The trouble with Lucky is that he made many enemies because always had arguments and fights with emprezarios, losing so many opportunities to play. I like his beautiful sound, his personal approach to play a ballad and his personal conception to construct a solo. I enjoy many of his records, especially LUCKY IS BACK (for his Rivoli label), LUCKY STRIKES (Prestige, an overlooked album with some of his greatest solos), the trio efforts with Oscar Pettiford and Skeeter Best for ABC-PARAMOUNT (I don't know if it has been issued in CD) and the one he made in Spain with Tete Montoliu (issued on the USA by Nessa), to name just a few. Let's remember he also recorded some sides with Charlie Parker for Dial in 1946 and with Dodo Marmarosa around the same time in Los Angeles. He made many records in Europe, where he lived several periods from 1956 on. DUKE JORDAN - despite he was the pianist of the first regular Bird quintet, his talent never was fully recognized, even recording many albums for SteppleChase from 1973 on, after 11 years absent from music. Taste, melodic approach, consistence and beautifully constructed phrases are his trademarks. Some of his compositions are small masterpieces of beauty and construction, as MISTY THURSDAY (a real gem) and PAULA, and also his jazz standards JORDU and NO PROBLEM. I like especially the album BARNEY (led by French saxist Barney Willen), a live recording with Kenny Dorham, Paul Rovere and Daniel Humair. On this particular record there is one the greatest ever piano solos I've heard - on LADY BIRD, Jordan plays three minutes and half of fully articulated ideas, fire, joy and incredible continuity. He recorded many wonderful records, especially with trios, but the double CD "Live in Japan", with Wilbur Little and Roy Haynes, confirms everything I said about Jordan.

 

Date:	09-Dec-1998 08:32:01
From:	Phil (peoplesp@dickinson.edu)
	I would suggest the great vibe & marimba player, Dave Samuels, fits the "underrated" category big time.

 

Date:	10-Dec-1998 22:09:36
From:	deni (rsimon@altfam.com)
	Piano: Lennie Tristano, Richard Twardzik, Eddie Higgins, Warren Bernhardt; Bass: Paul Chambers; Female Vocalists: Meredith d'Ambrosio, June Christy, Julie London; Trumpet: Pete Christlieb, Jack Sheldon

 

Date:	15-Dec-1998 13:45:16
From:	james
	ABDULLAH IBRAHIM, undervalued is the word. The most dignifying and profound performer in the music

 

Date:	16-Dec-1998 11:00:59
From:	Steve (mckenna@accuwx.com)
	Meridith d'ambrosio Ray Bryant Ralph Sutton Kenny davern Dick Johnson Sir Roland Hanna Harry Allen Donna Byrne Dick Wellstood Carl Fontana Alan Dawson

 

Date:	24-Dec-1998 01:13:18
From:	a jazz fan
	Kenny Kirkland

 

Date:	28-Dec-1998 15:32:58
From:	Stuart Bentley (s15bentley@hotmail.com)
	Frank Rosolino has always been very overlooked. By the early 50's he had a technique that NOBODY could equal (Listen to his recordings he made in 1952 that ended up on the "Trombone Album," or for that matter, any of his solos he played with Stan Kenton). So why was he so steadily ignored by Downbeat and jazz critics? Beats the hell out of me... Carl Fontana/Bill Watrous really revolutionized the doodle-tongue technique, and yet I find it amazing that there are currently no transcription books available!

 

Date:	03-Jan-1999 12:04:21
From:	Mike Mulvihill
	My nomination is Chuck Wayne. A very good case can be made that he is the key figure in the development of jazz guitar since Charlie Christian. He was Dizzy Gillespie's choice of guitarists on the first be-bop sessions; he is the first jazz guitarist to front a big band as a soloist/arranger (String Fever). He still is probably the most sophisticated guitarist technically, to this day. He has been totally neglected in the history of jazz guitar, modern jazz, and be-bop. His elegant, subtle solos and complex accompaniments still go right past all but the most sophisticated listeners. Don't take my word on any this - listen to some of the discs that are available such as "Tasty Pudding" with Zoot Sims & Brew Moore (Savoy Jazz) or the George Shearing collection from Verve (Jazz Masters 57). Also, there's a Duke Jordon disc now available called "Misty Thursday" (with Sam Jones, Roy Haynes!) that is excellent on the Steeple Chase label. Other jazz guitarists and musicians have often been generous in print concerning Chuck Wayne but the current crop of jazz historians consistently miss the boat. It is a shame. He is the unacknowledged master of jazz guitar.

 

Date:	03-Jan-1999 12:43:51
From:	Mike Mulvihill (neely@internetwis.com)
	My nomination is Chuck Wayne for various reasons. He was the first guitarist to record be-bop (with Dizzy Gillespie. He was the first guitarist to front, in a recording, his own big band as soloist/arranger/leader - String Fever. And to this day he is probably the most technically proficient guitarist that has ever played jazz. He is probably the key figure in the history of jazz guitar since Charlie Christian especially if you consider his part in the development of be-bop guitar. His subtle, complex solos and elegant accompaniments usually go right over the heads of all but the most sophisticated listeners. Many jazz musicians have acknowledged his importance in print but jazz historians and journalists consistently overlook him. He would be an excellent reissue project and feature article subject. Most of his recordings are out of print. Don't take my word for any of this praise, pick up "Tasty Pudding" with Zoot Sims and Brew Moore (Savoy Jazz). Another wonderful recording is his work on the Verve George Shearing compilation (Jazz Masters 57). Also, he is on an excellent Duke Jordan CD entitled "Misty Thursday, with Sam Jones and Roy Haynes (Steeple Chase label). Hear for yourself the unacknowledged master of the modern jazz guitar!

 

Date:	04-Jan-1999 11:03:43
From:	Robert LaSalle
	Hey, this is a very interesting website. Many new musicians and CDs to check out. Good job, good idea!!!

 

Date:	16-Jan-1999 19:35:30
From:	brad goode
	Ira Sullivan

 

Date:	18-Jan-1999 19:37:38
From:	Bill Barton (William.Barton@vtmednet.org)
	Von Freeman Buck Hill Teddy Edwards Howard McGhee Chico Hamilton Eddie Harris Marion Brown Mischa Mengelberg Giorgio Gaslini Stan Tracey and on and on and on...

 

Date:	26-Jan-1999 07:28:06
From:	José Domingos Raffaelli (jdr@musicshop.com.br)
	Mike Mulvihill, I agree with you concerning Chuck Wayne - a real, great player with everything a jazz guitarist could wish. I have the records you mentioned, except the big band one, that I must confess I didn't knew it existed. There is also a duo CD with vibist Warren Chiasson recorded for Empathy Records (owned by guitarist Joe Carter, a huge Wayne's fan), with some lovely solos, including a version of the late Antonio Carlos Jobim's Wave.

 

Date:	04-Feb-1999 13:30:21
From:	Noble Sissle, Jr. (nsisslejr@aol.com)
	Cannonball Adderley....a thousand times. Played best before a live audience (studio or otherwise). With Genius Brother Nat at his side and writing the "good stuff", nothing could be finer. Who do you think really made Miles' "Kind of Blue" album soar? Cannonball! If you agree, amen; if you don't, buy the following CDs: "Kind of Blue", "Country Preacher" (live); "At the Club" (studio before a live audience) and/or "Jazz Workshop" (again, live). If you want to send a note to brother Nat, who has been ill, drop him a line at his home in Lakeland, Florida. Besides, they both went to FLORIDA A&M UNIVERSITY! Go RATTLERS.

 

Date:	09-Feb-1999 21:32:45
From:	Bob Jacobson (bobbo j@aol.com I)
	I don't know about MOST underrated, but Mary Lou Williams is definitely underrecognized and undervalued. It burns me up that even in the stores you'll find only one or two of her albums. For those who don't know, she was active as a pianist (on record) from 1930-78 (three years before her death). Imagine someone performing in concert with both Benny Goodman and Cecil Taylor in the same year (1978) - that was Mary. Aside from virtuoso playing which incorporated all the styles from stride to bebop and beyond, she composed around 350 tunes, arranged for most of the major big bands (mainly Andy Kirk's), wrote for symphony musicians in l946, wrote jazz for use in Catholic church services, taught History of Jazz at Duke U. Unlike many of her contemporaries she never stopped developing.

 

Date:	16-Feb-1999 23:15:42
From:	Bob Michaels
	Warne Marsh is my nomination. Recently I've picked up four Marsh CD's and each one is wonderful. Historically, I think,he has been overshadowed by his frequent musical partner, the routinely brilliant Lee Konitz, but Marsh is extraordinary. I must admit that I had no idea how extraordinary until this past month's Warne Marsh CD splurge. My two favorites are: one with Tristano and his own quartet, (two LP recording dates on the disc) entitled "Intuition," and another, a duet with Red Mitchell simply called "Duo," which is live at Sweet Basil's in New York City. The performances are great and the sound is very good on both CDs. Warne Marsh: another bright light in my jazz constellation.

 

Date:	19-Feb-1999 17:30:45
From:	Ed Saltzman
	Great to see here the mentions for Chuck Wayne, who is unquestionably the most underrated jazz guitarist (more unjustly obsccure than even Johnny Smith and George van Epps!) But beyond being underrated as a guitar player, Chuck was hugely underrated as a jazz artist!

 

Date:	20-Feb-1999 17:23:21
From:	Jim Egan
	How about the pianist Albert Dailey. Has anyone ever heard Stan Getz's duet album with Dailey "Poetry?" I don't know if it has ever made it into CD. On the album Getz generously gives Dailey two solo cuts and the liner notes are simply amazing with Getz comparing Dailey to Bud Powell. It is an incredible album. Dailey is every bit as good as Getz says, with his own voice etc.etc. It is obvious that Getz was a bit in awe of Dailey. I think Dailey recorded only one album, but has been a sideman with Art Blakey, and a sideman on a whole lot of other albums. Dailey died young but anyone who has heard "Poetry" knows that a major jazz artist was lost before his time.

 

Date:	20-Feb-1999 20:22:44
From:	John Tyler
	Far and away the most underated jazz musicians of our time is Julius Hemphill. In my book he is the greatest jazz musician, composer, arranger of the latter part of the 20th century. Future historians of jazz will marvel at our neglect. Hemphill would be remembered for his Sextet work if he had never been involved (and been the key figure) with the World Saxophone Quartet. By reputation, the WSQ has eclipsed his Sextet but listen to "Fat Man and the Hard Blues," and then try to tell me this is not greatness. The WSQ is the best jazz group since the Coltrane Quartet, the Bill Evans/LaFaro/Motion trio, and the Ornette Coleman quartet with Don Cherry. If you've never listened to the WSQ try the Ellington CD - that is if you're not into Dolphy/Coleman etc. Otherwise, everything they recorded is tremendous. Just how big are your ears, anyway?

 

Date:	20-Feb-1999 22:01:44
From:	Lenny
	Yup, as far as the triple threat player/band leader/composer goes it's looking like the big line goes Ellington-Mingus-Hemphill. I agree with John Tyler. And Hemphill could play!!! Oh, could he - like few before or since.

 

Date:	04-Mar-1999 18:42:02
From:	Martin (MRT@switchboardmail.com)
	Art Pepper. While I never had the chance to hear him perform live (because he died when I was in high school and still listening to AOR), I have never heard a bad Art Pepper record and many of them are outstanding. I particularly like his recordings on Galaxy and Contemporary from the 70s. His style is unique for alto; kind of like Lester Young meets John Coltrane on alto. Yet when you read opinions/lists of major players, his work sometimes gets overlooked.

 

Date:	04-Mar-1999 21:58:01
From:	michael jackson (Mjacks49@AOL.com)
	certainly a very underrated jazz musician is CECIL TAYLOR. catch a concert of his and watch mental and physical strength at work.JULIUS HEMPHILL had an album out on arista called HARD BLUES in the seventies. check it out.

 

Date:	04-Mar-1999 21:59:12
From:	michael jackson (Mjacks49@AOL.com)
	certainly a very underrated jazz musician is CECIL TAYLOR. catch a concert of his and watch mental and physical strength at work.JULIUS HEMPHILL had an album out on arista called HARD BLUES in the seventies. check it out.

 

Date:	04-Mar-1999 22:04:38
From:	michael jackson (Mjacks49@AOL.com)
	CECIL TAYLOR is certainly a very underrated jazz musician. catch a concert of his and witness mental and physical strength at work. JULIUS HEMPHILL had an album out on arista in the seventies called HARD BLUES. it's worth a listen.

 

Date:	07-Mar-1999 23:04:12
From:	Jesse Edwards
	I'd like to nominate Paul Bley. Check out his solo album "Hands On" (on the Evidence label). It's beautifully recorded and if you're interested in a musician that has integrated jazz and classical music at a very high level of sophistication Paul Bley's your man. Another beautifully recorded album is "Mind Set" on Soul Note which is a Paul Bley and Gary Peacock collaboration. Part of the CD is solo Bley, part is solo Peacock, and then some duets. Subtle, sophisticated jazz.

 

Date:	08-Mar-1999 17:01:48
From:	Tim
	What about Wynton Kelly? Too few solo albums but look at all the great albums he's on? He's sort of like Tommy Flanagan - it's not just a coincidence that everything seems to work out so well when they're involved. "Kelly Blue" and "Piano" (with Burrell,Chambers & P.J.Jones) are my favorites with "Kelly at Midnite" a close third.

 

Date:	11-Mar-1999 23:42:16
From:	Johnny D. Walters
	You've heard Hawkins,Young,Carter,Hodges,Webster,Adderley,Coltrane,Getz. You've heard Byas,Stitt,Sims,Cohn,Konitz,Mobley,and Mulligan. You think you've heard all the greats with your A-#1 tops CD/record collection, but have you heard Bugsy Ipsell? No? You ain't heard nothing - rookie boy.

 

Date:	12-Mar-1999 20:33:00
From:	John Farva
	I heard Ipsell twice in an old hotel bar in Brooklyn Heights in the late forties/early fifties. I was a very young man at that time and went to this seedy hotel to hear Art Tatum play. Everybody there was at least 30 years older than me at the time. I still remember the music, vividly. He was something - both of them, and together!! Another lost genius of jazz that Bugsy.

 

Date:	14-Mar-1999 22:58:01
From:	Jim H.
	Peter Bernstein is a wonderful guitar player, but a lot of people haven't heard of him. One reason is that he's on a small but good label, CrissCross. I see his name on the music credits of the show Chicago Hope...not sure if it's him, but it probably is. He's a young guy, probably early 30's, but has a great tone. He usually plays in small combo situations. Bernstein can play chord melody stuff or quick single note stuff like G. Green or Pat Martino. Besides a few releases of his own, he can be heard backing up others like Lou Donaldson, Jimmy Cobb, Larry Goldings, label mate Walt Weisskopf, and Jesse Davis. Recently a Grant Green tribute came out with different players doing his tunes and P.B. is on that too. This guy is good and in demand. I sus- pect he's primarily a NY club/session guitarist. I'd love to see him play some West Coast gigs. His most recent effort is a trio recording, it's ok, but I prefer the earlier Signs of Life and the one that came after it. The recent one by Cobb's Mob is real good. P.B. writes good tunes. Seek and ye shall find. Keep em coming Peter.

 

Date:	23-Mar-1999 11:11:22
From:	ADR (ADRobin@aol.com)
	A few more underrated jazz musicians IMHO(I mentioned James Spaulding earlier in the thread): Piano: 1. Elmo Hope 2. Freddie Redd 3. Jaki Byard 4. Hank Jones 5. Herbie Nichols 6. Barry Harris Bass: 1. Richard Davis 2. Cecil McBee Drums: 1. Pete LaRoca 2. Joe Chambers 3. Alan Dawson 4. Frank Butler ADR The Devoted Jazz Fan(atic)

 

Date:	05-Apr-1999 14:54:15
From:	M
	I want to add Stan Strickland to the list of the overlooked. He's Marty Ehrlich's horn partner on Ehrlich's albums (listen to "Pliant Plaint"). Ehrlich is to Lee Konitz as Strickland is to Warne Marsh. These guys are at the top of the heap. I'm not aware of one CD under Strickland's name - this is a virtuoso tenor, soprono, and flute player who pushes Ehrlich to greater heights - the guy's great. Ehrlich's no fool. Seriously, if you want to hear one of the best CD's of recent times pick up Pliant Plaint (w/Anthony Cox & Bobby Previte). Listen to Strickland, to Ehrlich, to Cox & Previte - extraordinary!!

 

Date:	05-Apr-1999 23:06:17
From:	Mitch Tyrell
	Another tremendous Marty Ehrlich CD is "Can You Hear A Motion?"(1994). Its got the Ehrlich,Strickland,Previte lineup with Michael Formanek replacing Cox. I certainly agree with the statements/praise about Stan Strickland - a passionate, intense player. Ehrlich typically plays a couple of different saxophones, a couple of different clarinets, and flute. What a combo - Ehrlich/Strickland!!! Hey, Konitz/Marsh didn't have the versatility that these guys have. But hey, they're all wonderful, absolutely first- rate musicians! Listen and be awed...

 

Date:	06-Apr-1999 19:50:44
From:	Leeland (aleelandw@aol.com)
	I would like to add Zachery Breaux. I just got his album "Uptown Groove" and it is jamming. Anbody got any more information him? I would sure like to know more. Thanks.

 

Date:	06-Apr-1999 20:58:30
From:	Bobby B.
	I say: Richard Davis Dave Holland Gene Ramey Walter Page Wendell Marshall Paul Chambers Major Holly Anthony Cox Red Mitchell In a more enlightened world good bass players would be worshipped as deities with petals strewn in front of them as they walked... and all bass player incurred bar tabs would be waved as a sacrifice in hope of the continued kind graces of the great beyond...

 

Date:	09-Apr-1999 09:54:28
From:	Ralph Jones
	Bobby B - now you wouldn't just happen to be a bass player, would you?

 

Date:	10-Apr-1999 08:45:43
From:	Matti (lomk@hotmail.com)
	Back from where I come from everybody hates Jazz Pianists they only like Miles Davis up here in the north of Sweden. There doesn´t excist any compiliation including a piano because everybody thinks the piano isn´t an able soloinstrument. Most people around here hate Keith Jarrett because they think his solo concerts are just BORING SHIT ! Well I´ll just say one thing Keith Jarrett is the best keyboard player (and Jazzplayer overall) every category and thats final.

 

Date:	10-Apr-1999 13:52:37
From:	James Weller
	Not to be obnoxious, but Keith Jarrett is hardly overlooked and he is boring. He's an OK jazz musician with an inadequate of a sense of drama to consistently construct interesting solos. He is a better classical player because the development of the music is basically determined by the composer. He has the same problem as Wynton Marsalis - however technically proficient, they're both uninspired, 2nd rate jazz musicians. Simply put on one of Jarrett's CD's and then a Bill Evans CD or likewise put on a Marsalis CD and then a Clifford Brown CD. Don't get me wrong, "2nd rate" is a major accomplishment, but Jarrett and Marsalis are hardly among the immortals.

 

Date:	10-Apr-1999 16:37:58
From:	James Weller - revision
	Not to be obnoxious, but Keith Jarrett is hardly overlooked. He's a very good jazz musician but with too inadequate of a sense of drama to consistently construct interesting solos. He's a better classical player because the development of the music is basically determined by the composer. He has the same problem as Wynton Marsalis - however technically proficient, they're both not inspired jazz soloists. Don't get me wrong, they're both good. If you want to hear the difference between first rate and good, simply play a good Jarrett CD, and then immediately afterward put on a good Bill Evans CD. Likewise, you can compare Wynton Marsalis and Clifford Brown. In short, Jarrett and Marsalis are hardly among the immortals.

 

Date:	10-Apr-1999 21:32:56
From:	James Ebert
	Don Friedman's certainly worthy of more attention. His solo Cd "Live at Maybeck" is wonderful. Also, Hat Art (Switzerland) released a Lee Konitz, Attila Zoller, and Don Friedman CD entitled "Thingin" which is one of the better jazz CDs I've ever heard. It's all three of these guys at their very best - the interaction puts this CD among the very best trio recordings I've ever heard. Friedman is an elegant player who is capable of inspiring Lee Konitz - which is about the highest compliment one can give to a player in the twilight days of this our wonderous jazz century.

 

Date:	10-Apr-1999 23:39:03
From:	Barbara
	Check out "Metamorphosis" (Prestige/OJC)with Friedman on piano, Attila Zoller on guitar, Richard Davis on bass, and Joe Chambers on drums. It's just been reissued, 1998. This is "cool, innovative jazz" akin to Giuffre & Bley in the 1960's. They play together so well, and it's a very good recording. Enjoy.

 

Date:	11-Apr-1999 16:00:34
From:	John T.
	I enthusiastically agree with all the comments on Chuck Wayne. He is being written out of the history of jazz which is amazing considering his accomplishments. Everytime I see a new jazz book (on be-bop, history of jazz, the jazz guitar etc.) I look to the index and Wayne is not there!! It would be a wonderful turn of events of some of his out of print recordings were reissued, and someone did a book/film or series of articles on him. If a jazz guitarist is looking for an interesting/innovative recording project he/she could do an album of Chuck Wayne's compositions. That could be a very interesting and important CD!! I play guitar (an OK amateur player)and listen to all the Chuck Wayne recordings I can get my hands on but there isn't that many. I nominate him for the most overlooked jazz musician!

 

Date:	12-Apr-1999 08:42:09
From:	Boom-boom
	Ruby Braff Roger Kellaway Arthur Taylor Harold Danko Ike Quebec Dave McKenna Sam Jones Vic Dickenson Bob Brookmeyer Buck Clayton Buddy Tate Hampton Hawes Benny Golson Yes, yes these guys are worth a real good listen, like for the rest of our lives.

 

Date:	13-Apr-1999 20:12:31
From:	Don Harris
	I think there's a master in our midst who is much underappreciated. I'm talking about the pianist/composer Billy Taylor. Two superb CD's are "Dr. T." which is a trio album with Victor Gaskin on bass and Bobby Thomas on drums (Gerry Mulligan sits in on three cuts). The other one I can highly recommend is his new "Ten Fingers - One Voice" which is a solo piano recording. Maybe we'll get lucky and Taylor will record a solo Ellington CD (as Nat Hentoff suggests in the liner notes). You should hear his "In A Sentimental Mood" !! Wow . . .

 

Date:	15-Apr-1999 02:06:05
From:	Patrick Tiglao (bentiglao@prodigy.com)
	List Dannie Richmond The Heath Family Kenny kirkland Brandon Fields Dewey Redman George Lewis Butch Miles Jimmie Lunceford Steve coleman Kevin eubanks Ahmad Jamal Victor Lewis ....There is more but there is no space for them all

 

Date:	17-Apr-1999 23:03:03
From:	Iggy Damascus
	Hey, all you fancy ass folks how about the real thing? The blues, R&B, the real stuff of the big old world. How about Coleman Hawkins, Lester Young, Teddy Wilson,Don Byas, Johnny Hodges, Earl Hines, Ben Webster, Buck Clayton, Billie Holiday - how about real music with real emotions. Get outa your head - and into your heart, into your body, and into your soul. You're gonna die just like the other beasts - Mr. Cerebral stuff . . .

 

Date:	18-Apr-1999 10:01:32
From:	Bobbie Eliot-Whitman-Rimbaud
	There once was a saxophonist named Sonny Stitt Who placed the instrument like he created it He breezed through the scales With fingers that never failed And even the jazz world has forgotten this. There once was a musician named Chuck Wayne Who played like a beautiful flame He spun off long phrases Leaving his audience in dazes And nowdays he's merely a name.

 

Date:	20-Apr-1999 23:21:09
From:	B. Dario
	Buck Clayton Dickie Wells Cat Anderson Paul Gonsalves Jimmy Raney Bob Brookmeyer Budd Johnson Jimmy Rowles Brew Moore Charlie Rouse

 

Date:	22-Apr-1999 21:48:10
From:	Mark Quintana
	The Master of them all, Charlie Parker, chose him to record with - so what did he hear that most everyone else seems to miss? Flip Phillips is the man. Well, the CD "Flip Wails: The Best of the Verve Years" is a huge compilation (72+ minutes) of outrageous music recorded mostly in the 1950's with the likes of Ray Brown, Hank Jones, Buddy Rich, Billy Bauer, Harry Edison etc. etc. Phillips is a lyrical master whose playing just sings. How about some more Phillips reissues - please, oh Verve!! Parker's other sax sideman of incredible talent was Lucky Thompson. Listen to the "Tricotism" CD with Oscar Pettiford. These two guys, Phillips & Thompson, were handpicked by Parker and both played sax - what higher compliment could there be? These two CDs are as good as jazz gets.

 

Date:	24-Apr-1999 11:55:22
From:	Joanie C.
	Cedar Walton Listen to Walton & Ron Carter duo recordings or Walton's trio recordings with Billy Higgins & David Williams. Nice stuff!!

 

Date:	24-Apr-1999 17:17:35
From:	George R.
	I think the early Kenny G has been completely overlooked with his dramatic turn of career. Check out the just released "Kenny G/Eric Dolphy Sessions" which is a 2CD set with Charles Mingus on bass, and Keith Moon on drums. This was recorded live in a London Club and has been released by Mirage Records, a French label. I had no idea that Kenny G was bopper/avant gardist early on his career - talk about chops!! Some of the bass clarinet/soprono sax duets between Kenny & Eric are simply awesome; there's also a long Mingus & Kenny duet with Kenny on baritone sax. Check it out!!

 

Date:	25-Apr-1999 23:41:05
From:	Reggie Campbell
	Clark Terry - everything he ever played still sounds great!! Mary Lou Williams - everything she ever played still sounds great!! John Lewis - ditto Harry "Sweets" Edison - ditto

 

Date:	26-Apr-1999 14:22:03
From:	Simone
	Cool, sexy, sophisticated - what more could a girl want?? Hal McKusick - "Now's the Time" (with the young Bill Evans, Art Farmer, Eddie Costa, Paul Chambers, Connie Kay, Milt Hinton etc. George Russell - "The Jazz Workshop" (with McKusick on sax & clarinet, the young Bill Evans, Art Farmer, Barry Galbraith, Milt Hinton, Joe Harris etc.

 

Date:	26-Apr-1999 15:43:50
From:	Tommy Matterazzo
	Doris Day - Jazz Singer!! The most overlooked. The most dissed - But the evidence sings for herself!! Take a listen to: "Doris Day: Bebop and Ballads" this is a dynamite CD - with, get this, Doris Day backed by the Lee Morgan Quartet, live in Paris. This is a club date recording with Morgan, Sonny Clark, Doug Watkins, and Arthur Taylor. Doris accompanies herself on piano on two of the ballads. Great recording (20-bit remastering/Mirage Records). She can ride the Morgan/Taylor be-bop tempos with surprising ease - and she can steam your goggles, on the ballads . . . To tell you the truth I was shocked when I heard this recording. It's also a Sonny Clark showcase with lots of solo time (and a thoughtful duet exchange with Doris on one ballad cut). Doug Watkins on bass gets more spotlight time than usual- which is a real treat. Hey, the sultry 50's cover art alone is worth the price of admission! I think this release should establish Doris with some genuine jazz credentials. Overlooked? I'd say.

 

Date:	26-Apr-1999 16:05:05
From:	Patrick
	Alot of you guys are strictly OLD FASHIONED!!!! Jazz music is about progression not regression .The genre of jazz itself, THESE DAYS contain many , many different styles of music. I am a fan of all the forms of jazz. You name it I 've heard it . From Jelly Roll,King Oliver, Jack Teagarden,Sidney Bechet, The Duke,THe Count, Fletcher Henderson,Benny goodman,Stan Kenton, Woody Herman, Diz,Bird,Coleman Hawkins,Lester Young,Mingus,Max Roach,Monk,Red Garland,Trane,Bessie Smith,Lady Day,Ella,Chick Webb,Sarah Vaughn,Betty Carter,Elvin Jones,Dexter gordon,Mel Lewis,Thad Jones,Cannonball,Bill Evans,Mahivisnu,RTF,Miles,Art Blakey,Lee Morgan,Freddie Hubbard,Benson,Stan Getz,Kenny Baron,Rufus Reid,Chaka Khan, Scofield,The Yellowjackets,Keith Jarret,Dave Holland,Ornette,Don Cherry,Eric Dolphy,Lincoln Center Jazz Orchestra,Vital Informaion,Bela Fleck and the Flecktones,Dave Grusin,Chick Corea,John McGlaughin,Billy Cobham,Aretha,Joni Mitchell,Zappa,Weather Report,Jaco,Wayne Shorter,TOny Williams, Roy Haynes ,Mcoy Tyner,The Brecker Brothers, Christian McBride,Carl allen,Jackie Terrason,Brad Meldau,Kenny Garrett,Jim Hall,Wes ,Peter Bernstein,Maceo,ODJB(For those of you who dont know that stands for the Original Dixieland jazz band),Tito Puente,Charlie Byrd,Cal Tjader,MAchito,Portinho,Paquito,Jerry Gonzalez,The Marsalis Family,Chano Pozo,THe List goes on and on AND on........ My point is that all of you ignorant fools who think that jazz is just one freaking style with one sound,the old sound, NEED TO GET WITH IT OR CRAWL BACK UNDER YOUR ROCK AND BE IGNORANT ,BUT DONT GET IN THE WAY OF PROGRESSION... JAZZ IS BIGGER THAN YOU COULD EVER BELIEVE .THERE ARE SO MANY CATEGORIES THAT MAKE THIS MUSIC.EVEN BACK IN THE TIME OF NEW ORLEANS, JAZZ WAS DERIVED FROM DELTA BLUES,SECOND LINE PARADE MUSIC,AND RAGTIME....EVEN THEN IT WAS A FUSIONS OF DIFFERENT STYLES>>>>AND IT STILL IS THAT WAY!!!!! SO TO MR>Cerebral You Can forget it....If You think my list iwas to crebral then you need to GET A GRIP JOIN THE TWENTY-FIRST CENTURY PAL!!!!!!!

 

Date:	26-Apr-1999 22:22:38
From:	Iggy Damascus
	Patrick: hey man, the term is cerebral. Take it from me, I've got no worries about you being in that group! If Madonna called herself a jazz singer you'd probably put her on your list.

 

Date:	26-Apr-1999 22:49:34
From:	Madonna
	By the way, Patrick, I AM a JAZZ singer! I'd like to check out your big collection sometime. . .

 

Date:	27-Apr-1999 15:27:37
From:	Zimbo Bobrich
	How about these: George Mraz Osie Johnson Mousey Alexander George Wallington J.J. Johnson Harold Land Paul Bley Carl Berger Margie Hyams Denzil Best Eddie Costa Eddie Locke Toshiko Akiyoshi

 

Date:	27-Apr-1999 16:11:47
From:	Patrick
	Well just for the record Iggy. I am a jazz drummer who lives off performing and teaching. I am also attending the New School of Social Research in NY. I learn from people like Reggie Workman,Victor Lewis and Jeff Watts.... These guys know alot more about this music than you do. The Most important thing I have learned from these guy is, BE DIVERSE. That is exactly what I practice and because of it I am able to live off performing and teaching. I also enjoy a broad appreciation of music....Cerebral or NOT....SO ENJOY THE STONE AGE PEACE PS I do not consider Kenny G jazz at all (he does not improvise!)

 

Date:	27-Apr-1999 16:53:57
From:	Iggy Damascus
	Patrick: So enjoy the stone age peace?? Name dropping means you learned anything? Words, words . . .

 

Date:	27-Apr-1999 18:26:02
From:	Bobbie E. W. Rimbaud
	An applicable quote: ("musician" has replaced "Humanist") This musician whom no beliefs constrained Grew so broad-minded he was scatter-brained. J.V Cunningham

 

Date:	27-Apr-1999 20:29:13
From:	Janice Pax Oh My!
	NOW BOYS - ENOUGH ALREADY!!! To return to the topic of overlooked muscians: I nominate Helen Humes and Mildred Bailey. XXXXX (kisses)

 

Date:	29-Apr-1999 11:07:12
From:	Karen J.
	Two musician/composers/arrangers who are much overlooked: Tadd Dameron Bill Holman All I've ever heard of their recordings have been interesting & beautiful.

 

Date:	30-Apr-1999 01:57:47
From:	C. Glatzel (carlg@bantudesign.com)
	Vibes: Bobby Hutcherson Piano: Bill Evans Horns: James Spaulding, Harold Land and Wayne Shorter Bass: Reginald Workman and Eddie Gomez Drums: Joe Chambers and Marty Morrel

 

Date:	30-Apr-1999 20:53:58
From:	Ike
	The pianist Dodo Marmarosa. He recorded with Gene Ammons and Lucky Thompson - classic recordings. And of course with many other musicians/groups. Anyway, if you see the Gene Ammons or the Lucky Thompson CDs - they're highly recommended by yours truly, Ike.

 

Date:	01-May-1999 23:58:18
From:	Zimbo B.
	But could Julius Hemphill play a heart tugging ballad? I'm asking, I don't know. . . Zimbo requests feedback. Zimbo requests examples. . . Help Zimbo know.

 

Date:	02-May-1999 07:59:08
From:	Swiggy K.
	Jimmy Giuffre I listen to only what my cats like. When Giuffre plays my cats roll on the rug on their back in ecstasy. My cats know. They especially like "Free Fall" which is jazz that overlaps with modern, 20th century classical music. Giuffre on clarinet, Paul Bley on piano, and Steve Swallow on bass (wowie zowie!). My cats go nuts when this disc plays - especially on the solo clarinet pieces!! Remastered 20-Bit Digital! His trio recordings are totally different, an odd mix of retro and modern. My cats like these too; they sit there with their heads cocked to the side (but they don't get wild - I'd say they're very appreciative). This is week night music. But usually on Friday & Saturday nights after supper they let me know that it's time to bring out the catnip and put on "Free Fall." I am an accommodating person. Besides I play bongos and I'm in the band now, although Giuffrre,Bley,and Swallow may not know - they would approve, if only they could hear . . . Bop, bop, de be bop bing!!!! Swiggy

 

Date:	02-May-1999 21:04:18
From:	Willard Dubois
	You're mostly all a bunch of very mixed up people. Be-bop and avant-garde and fusion and this hip-hop influenced junk has nothing to do with jazz. These are all malignant forms, tumors on the body and soul of jazz. It's been downhill since Ellington - though there still are some good bands and players. It makes me sad to listen to people as talented as Zoot Sims and Sonny Rollins and hear the influence of Charlie Parker and his ilk. Even Benny Carter has traces of this disease. What's worse Be-Bop or this Ornette Coleman/Eric Dolphy influenced screeching? I really don't know, and fusion & hip-hop - they're simply evidence of premature mental feebleness most likely induced by poly-substance abuse. Easy listening/muzak jazz like Kenny G is probably due to organic brain rot induced by too much television. What has happened to jazz?? Pray for its sick soul, and don't listen to garbage!!

 

Date:	02-May-1999 21:49:11
From:	Rod Vamp
	Hey Tommy Materrazo: No 'effen way that Dorris Day records with Lee Morgan. I'd be more likely to believe that Julius Hemphill recorded the John Denver songbook. You're so delusional , you probably hear the influence of George Winston in Lenny Tristano. By the way, did you ever hear Grand Funk Railroad's super up-tempo take on Confirmation?

 

Date:	02-May-1999 22:18:19
From:	Max DeLucas
	Sammy Davis Jr. is totally overlooked as a jazz vocalist. The only released version of the bouncy tempo hit song, "Candy Man" shows hints of Davis' great phraseology. But the just released Davis Jr. retrospective (6 CD box set on Mirage) contains nine outakes, which though they lack the commerical punch of the hit version, are a powerful demonstration of the range of Davis' instrument. On alternate take #3, Davis' treatment of the opeing lyric, altnerating legato scented quarter notes: "Who Can Make a Rainbow" followed by half notes: "Wrap....It.....In... A....Smile? is a great demonstration of how an accomplished jazz vocalist leads a band instead of the other way around. Of the other outakes most are considerably more up tempo than the hit version, although one is performed as a suprisingly soulful ballad. Hey, all this alone ought to qualify Davis a a jazz legend, but check out his interpretations of Coltrane's Equinox as well as the Toots Thielman classic "Bluesette." For those of you who stilll doubt, just consider Candy Man as the natural successor to Moose the Mooche. Of course, I'm wasting my time trying to convince closed off minds like Patrick's who would write Davis out of jazz history because he "doesn't improvise."

 

Date:	02-May-1999 23:04:05
From:	Richard Engels
	Patrick: Hearing is of the spirit, maybe you just listened with your ears. The derisive "Stone Age" - well then the Stone Age LIVES, as it will long past the 21st Century. Who will be listened to twenty or forty years from now - Coleman Hawkins or jazz fusion bands? You tell me. Ultimately, it ain't all the same.

 

Date:	03-May-1999 02:39:48
From:	Henry Dawkins
	I want to vigorously disagree with Willard Dubois. I think the rise of Ellington and the other big bands marked the beginning of the demise of real jazz. The gross commercialization has continued to gain in force and momentum to this day. Take a listen to the Riverside History of Classic Jazz (3 CD set). Now that was jazz!! The most overlooked?? Just about all of jazz before the so-called Swing Era. Progress ain't necessarily progress, not in any meaningful way.

 

Date:	03-May-1999 11:06:24
From:	Audrey
	Blah, Blah, Blah . . . Who do you feel has been most overlooked and is most worthy of attention? That is the question.

 

Date:	03-May-1999 23:55:52
From:	roger stillwell
	Audrey: I beg to differ - the question is the future of jazz. "Worthy of attention" implies the future. If there's anything we can be sure of - it's that the future will and will not be like the past. Overlooked? Dickie Wells. Paul Motian.

 

Date:	04-May-1999 18:08:02
From:	Tommy M.
	Rod Vamp: Not only have I heard it - if you play it backwards (like the Beatles No.9 on the White Album)you can hear quotes from various other Parker classics. Don't take my word for this, but finding the vinyl may be difficult at this point in time. I don't think it was a big seller.

 

Date:	04-May-1999 19:26:46
From:	Rod Vamp
	To Tommy M: Sure thing Tommy. Whatever you are taking, I guess it's fine as long as it keeps you off the streets. Keep playing that vinyl backwards Tommy. Better yet, hold it up to the light. I hear you can see the image of Satchmo himself.

 

Date:	04-May-1999 19:28:16
From:	Rod Vamp
	To Tommy M: Sure thing Tommy. Whatever you are taking, I guess it's fine as long as it keeps you off the streets. Keep playing that vinyl backwards Tommy. Better yet, hold it up to the light. I hear you can see the image of Satchmo himself.

 

Date:	04-May-1999 19:28:57
From:	Rod Vamp
	To Tommy M: Sure thing Tommy. Whatever you are taking, I guess it's fine as long as it keeps you off the streets. Keep playing that vinyl backwards Tommy. Better yet, hold it up to the light. I hear you can see the image of Satchmo himself.

 

Date:	04-May-1999 23:24:31
From:	roberta c.
	Willard: Maybe Benny Carter has not only found something to learn from Charlie Parker but actually likes his music, even though it may not be his style of playing/composing. I don't know, but I wouldn't discount this possibility.

 

Date:	05-May-1999 00:55:03
From:	Nicholas Meyer
	Most overlooked: Oliver Nelson. My favorite Nelson CD is "More Blues And The Abstract Truth" with a dream band that includes: Thad Jones, Phil Woods, Ben Webster, Pepper Adams, Roger Kellaway, Richard Davis, and Grady Tate!

 

Date:	07-May-1999 18:10:18
From:	Rod Vamp
	Billy Higgins Kenny Drew- Senior and Junior! George Wallington Dick Katz Al Haig Mark Shane Eddie Costa Jay Leonhart Ronnie Bedford Earl May Joe Williams (the bassist, yes the bassist, not the singer)

 

Date:	08-May-1999 00:23:47
From:	David Lund
	Since Lucky Thompson by opinion seems to be the most overlooked musician, I have two offbeat CDs to recommend: "Lucky In Paris" HighNote Records "Lucky Meets Tommy: Lucky Thompson and Tommy Flanagan" Fresh Sound Records Both of these CDs I bought on a whim thinking that the sound was probably not so good or in the case of "Lucky In Paris" that the band would be medicore. I was wrong on both assumptions. The recordings are good (especially with Flanagan) and the French band is very good (includes the pianist Mortial Solal who has recorded with Konitz). Both of these CDs are as good as most anything I've heard by Thompson. I think "Lucky In Paris" rivals "Tricotism" for the quality of Thompson's playing. I think both CDs are better than "Lucky Strikes" and "Happy Days" which are both very good indeed. Anyway, if you like Lucky Thompson these are two recordings that you'll simply love. Seriously.

 

Date:	08-May-1999 00:43:03
From:	LuLu
	Jimmy Rowles just look at his pals Billie Holiday, Al Cohn, Zoot Sims, and they all loved playing with him. (and recording!)

 

Date:	08-May-1999 18:37:24
From:	Jonah Jones
	I say Dave Holland. If you want to know how good a soloist he is check out the following: "Emerald Tears" and "One's All" They're both solo bass albums which is an interesting wrinkle to my jazz collection. The first one is a little more edgy (recorded in Germany), while the second is laid back and lyrical (New York). They're both highly recommended. I do hope he records another solo CD soon! He's always been an intelligent bass player with a great sound.

 

Date:	11-May-1999 02:10:46
From:	Patrick
	To Richard, Eventually you will be old and forgotten. How old are you? Eventually you and those who share this ignorant view will wither away and die.........way before I will. And when that happens your close minded opinions will go with you... Hence the end of the Stone Age..........

 

Date:	11-May-1999 15:08:45
From:	Richard
	Patrick: I am 23 years old. I would guess I'm your age or younger. What does this have to do with it anyway? Because I'm young I would naturally like fusion over Coleman Hawkins? You know the old saying: I may be young but I wasn't born yesterday? Well there is a difference - soul. And I don't think that has anything to do with age. Nicholas Payton has soul - and he isn't of the your so-called "Stone Age." "The Stone Age" is your term. Good music will last long after both of us are feeding the worms, and as long as good music lasts it ain't dead. Coleman Hawkins is a lot more alive than a whole lot of contemporary musicians.

 

Date:	16-May-1999 20:25:00
From:	ronald c. parker
	You know if you get cremated the worms won't get you. I don't think worms would eat ash. I could be wrong. I'm no wormologist. I only use them for fishing.

 

Date:	18-May-1999 13:20:08
From:	Susan
	How about KENNY WHEELER? If you haven't heard him, I recommend: "Angel Song" (with Konitz, Dave Holland, and Bill Frisell) they're all playing at top form - like wow!! This is jazz at its very best. "All The More" (with John Taylor, Furio Di Castri, and Joe LaBarbera). A very tight band that sounds like they've played together forever. Nice to hear these days . . . very good players.

 

Date:	19-May-1999 08:04:32
From:	Richard
	Patrick - where are you? Come in Patrick . . .

 

Date:	19-May-1999 16:22:19
From:	Rod Vamp
	Who cares about Patrick? Is Patrick underrated? The way I see it there are only two possibilities- either Patrick is a visionary or a fool. We'll never know in our lifetimes, that's for sure.

 

Date:	20-May-1999 17:10:12
From:	King Tom
	I'm getting a little tired of this Konitz, Ehrlich, Cecil Taylor, Tristano, Marsh talk. Here at the Duluth Jazz and Blues Club if you can't swing from the hips your CD becomes a frisbee in the snow. Believe me there's a few Konitz CDs out there in the field behind our meeting house. Hey, when that guy records a down and dirty bluesy CD with somebody like Flanagan only then will I become I believer - if he can do it. Which is a big question. Enough of this high tone, sophisto jazz that college boys can do their math homework by. Does it oil your sockets? Does it make her want to do the nasty? We're waiting Lee . . . this is our challenge. You can hide out in Europe and sip fancy wines, but we know here in Duluth that you haven't come across yet - and we are talking about the BLUES. Convince us . . . enough of your cerebral fancy stuff!! We're waiting . . .

 

Date:	20-May-1999 23:35:38
From:	King Tom
	Underated? Jimmy Rushing. Take a listen Mr. Konitz.

 

Date:	21-May-1999 02:47:16
From:	guess who bit****
	You people need to get lives.....I still cannot believe that you are arguing about this shit. For your info, bitch (Richard) .I live in NY city and if any af you,especially our buddy Richard, have a serious problem with me I suggest you visit NY city sometime and look me up....You can find me at the Mannes School of Music......Then I will be more than happy deal with your punk ass in person...Otherwise say what you will and rot in hell........ I do not have any more time for you ignorant pieces of shit.

 

Date:	21-May-1999 07:11:08
From:	Richard
	I'm not sure that last comment was from Patrick. I don't think it is. But if it was then I feel sorry for him. Especially since he can't keep straight if he is attending the Mannes School or the New York School etc. I'm sure there are many good therapists in NYC. Perhaps, it's time to think about about a self-referral? A bit touchy? A bit angry? These two would be good opening counseling/therapy issues. Enough said - whoever you are.

 

Date:	21-May-1999 17:26:24
From:	Rod Vamp