Pleased you enjoyed the Bobby Wellins. He is probably best known for his collaboration with Stan Tracey’s tribute to the poet Dylan Thomas. On Qobuz under Stan’s name the album title is Under Milk Wood. Choice track must be Bible Black. With gin and tonic to hand I shall play it now.
My pension doesn’t stretch to a 555 but I am told the XPS dr for the NDX 2 should be here next week.
N
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The Mehldau & Rossi Trio is a live recording pre-dating “Introducing Brad Melhdau” by 2 years (1993). Well worth checking out if you are interested in the development of one of the most influencial post-Bill Evans pianists.
Streaming on Qobuz.
Enjoy
Dave
Oh @Nick1940 , an XPSdr on your streamer is wonderful. You will enjoy it. In the meantime I played some more Wellins albums. Very pleasant. I also tried the album Under Milk Wood ; ran it even twice. Super nice
Iver
Far from hip but a wonderful exhibition of humour,love and musical abilities. Lovely cover photo too.
Louis’s tone and singing. Was he always really forgetting the words?
Duke’s elegant piano work throwing the trumpet some odd harmonies over which Satch rides with ease and enthusiasm.
I would rate this on a par with Back to Back.
I was never to keen on the Coltrane collaboration even less so Money Jungle.
On Qobuz.
Well that’s enough enthusiasm for this Sunday afternoon.
N
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The first time I’ve ever heard or seen of a vinyl record mastered from an MQA file 
Same here, so I thought worth to mention
Sounds a bit iffy to me. I think its hyperbolic nonsense, I cant see any added benefit cutting from an MQA file, it’s pointless and more likely imo worse than cutting from a proper HiRes file.
But at the end of the day if it sounds good…
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Currently playing this gem. This is really fine jazz.
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Can confirm it sounds really very good
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I don’t think Paul ever made a record that I didn’t like.
Not to keen on thumper Brubeck but I have developed a tantric art of blocking him out of mind.
This one has Ed. Bickert on guitar. A recommendation to him from Jim Hall.
Surprisingly poor drum recording by Van Gelder or perhaps Connie lost his cymbals on the way in to the studio
This is a delightful oddity. Found in the Jazz Journal online magazine.
Tal not trying to prove he can play more notes than any other jazz guitarist.
Saxophones by another favourite Frank Wess and some truly strange piano solos from Dock Hyman*.** Please remove the o and insert an i.
Naim forum nanny state.
Both on Qobuz.
N
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And also on the Tal Farlow Complete Norgran/Verve Mosaic set (which I don’t play enough !)
Alan,poorly at the moment, Jazzhouse Records has a mint Mosaic copy.
When he is back and fully operational I will try and negotiate the £100. asking price.
N
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Worth it - and get well soon Alan !
I wonder if it is the ‘Euro’ version? That one has a balls-up marking of ‘Tal Farlow Concert Band’ on the spine (they were marketed by Verve in Europe). The US Mosaic issue is OK though. Mine is the Euro version, the music is the same though.
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Im assuming it’s the Acoustic Sounds Series reissue.
Fine album, mine arrived on Thursday. Acoustic Sounds lovely AAA mastering to LP.
Blues And…is probably my favourite Impulse label record.
Also recieved the AS reissue of Sonny Rollins On Impulse
Lovely job done on both
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Inspired by @nick1940’s earlier recommendation…
AllMusic Review by Michael G. Nastos [-]
Tal Farlow was hitting his stride in 1956; he was named by Down Beat magazine critics as the very best jazz guitarist in the world, and for all the right reasons. Where other similar players of his day combined rhythmic chords with linear melodies, Farlow preferred placing single notes together in clusters, varying between harmonically richened tones based on a startling new technique. His spider-like fingers handled the guitar in a way no other player could match, and this physical approach set Farlow apart from all others. The evidence is clearly heard on this trio recording sans drummer, ably helped by the wonderful pianist Eddie Costa and bassist Vinnie Burke. At his core a bopper, Farlow fairly flies through this stack of standards with astounding dexterity, and makes it all sound so easy when in fact it is not. At his most relaxed “Isn’t It Romantic” is surprisingly polite, but Farlow plays with the guitar, plucking strings and letting them briefly resonate with a sound that is compellingly arresting. But he’s completely astounding on the hardest swingers like the stunningly fast Clark Terry tune “Chuckles,” where he and Costa play in tandem, and Farlow actually picks a few chords. Of the other upbeat selections, “There Is No Greater Love” is fully articulated, “How About You” speeds along but is not rushed one iota, and “Anything Goes” is even faster, displaying certain detectable Asian elements from Costa. As virtuosic as Farlow’s musicianship is, the sharp attack he employs is heard even on the most dour, introspective track “You Don’t Know What Love Is” as he slows in an atypical ballad mood. Even the classic heartbreaker “Yesterdays” flows free of waste or pressure, even as it is swift, it is also effortless. The witty, wise and clean Farlow uses counterpoint with Burke opposite Costa, trading licks on the melody of “Broadway,” and leaves the listener wanting more. As there are few Tal Farlow recordings in the marketplace, this one remains timeless, brilliantly played and conceived, and belongs in every serious mainstream jazz lovers collection.
Streaming on Qobuz.
Enjoy
Dave
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