Excellent record by a great line up I’m a big fan of Horace Parlan one of Jazz music’s greatest pianists and the Turrentine brothers both play exceptionally well.
It’s quite a rare record on vinyl these days and this Japanese release from the 1990’s is a great pressing and comes in a nice thick card cover too.
Ever Since The World Ended - Mose Allison
2 Likes
I am pondering that one. Paul was quite unique.
About £150.Hmmm.
Some of the original cds were not the best sounding critters.
I will let you be the first to buy and let us know how it sounds😗
N
Roland Hanna - Perugia. A solo piano recording live at the Montreux Jazz Festival in July 1974. 1988 Freedom CD.
ORG Music remastered the vinyl version pressed at Pallas in 2018
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No qualms about the sound - sounds excellent to me and this is beautiful music. The sound has been improved from the original release (I only ever heard the A&M Horizon vinyl).
To my mind, Desmond sounds better on this than he ever did with Brubeck !
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Thanks for that.These will settle in nicely with the Jim Hall tracks.
I was also not a great fan of Brubeck but they both made a comfortable living out of the quartet.
Just checked Jazz Messengers Barcelona,where I first saw it,and it is no longer available although other Mosaics are.
Will investigate tomorrow.
N
Re: the Jim Hall ‘Live’. Recommend also the Vol 2-4 put out on ArtistShare some years ago, also recorded at Bourbon St with a Canadian group including Don Thompson. Like the Desmond, the music and recording is sublime.
It looks like the JazzMessengers copies sold out in a couple of days - they had 20 or 30 of them. Might be worth an email to them to check when next back in stock. Saves the hassle of importing from the US.
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For those with not such deep pockets…
AllMusic Review by Ken Dryden [-]
When the Dave Brubeck Quartet broke up in 1967, Paul Desmond worked sporadically playing live dates, probably in part due to his substantial royalty income from his hit composition “Take Five.” When Jim Hall was unavailable to play with Desmond in Canada, he recommended guitarist Ed Bickert who, like Hall, is a brilliant accompanist with the kind of musical E.S.P. that Desmond had with Brubeck. Bassist Don Thompson (who is also a fine pianist and vibraphonist) and drummer Jerry Fuller round out this solid quartet, which worked off and with Desmond when he played in Canada during the remainder of his life. These sessions, drawn from several nights at Bourbon Street in Toronto during the fall of 1975, are intimate performances enjoyed by attentive audiences. The selections include songs that Desmond had recorded with Brubeck or Gerry Mulligan, along with tunes he had played on his own records. Desmond’s cool tone and witty quotes are a treat throughout the album. The toe-tapping blues “Things Ain’t What They Used to Be” showcases Bickert’s lyrical playing, along the subtly swinging work of Thompson. Desmond playful interpretation of “Nancy (With the Laughing Face)” is typical of his recorded work. The most surprising track is the unusual setting of “Take Five,” which takes an exotic route near the beginning of the leader’s solo, with a droning vamp underneath him. First released as a two-LP set by Horizon/A&M in 1976, the album wasn’t in print long due to the demise of Horizon, though frustrated collectors welcomed the 2000 Verve CD edition, which not only fit all of the music onto a single disc, but added a previously unissued take of Gerry Mulligan’s “Line for Lyons” along with the original liner notes by Desmond and his good friend, journalist Doug Ramsey, plus extensive updated notes by Carl Woideck. This is easily the cream of the crop of Paul Desmond’s post-Brubeck recordings as a leader and rivals the studio albums he recorded with Jim Hall; it is unfortunate that Desmond was diagnosed with lung cancer around the time this recording was first issued in 1976, which cut short a brilliant career far too soon.
Available as a download from Presto Music or Qobuz.
Dave
3 Likes
This is a record you can listen to thousands of times and it will never tire of you!
It’s a quartet record, tenor sax, piano, bass and drums, supreme. Good records like this one, have never been able to do much, ever. Few records that flow so well. Few records that have so much swing and groove. The rhythm trio here is the best of its time: Art Blakey on drums, Paul Chambers on bass and Voynton Kelly on piano and these three at their peak. There is an unbelievable simplicity in this record.
Although he passed away at an early age, Morgan was able to attend dozens of recorded sessions, much of them as a lead player. He began his career even before he turned 18 when he played in the Dizzy Gillespie Orchestra. In 1958 and he was only 20, he joined Art Blakey and his Jazz Messengers with whom he recorded until 1961.
Many critics say the lineup with Lee Morgan was the best lineup ever.
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Locked Down Jazz Appreciation - Album of the Week
18: Art Blakey And The Jazz Messengers: Moanin’ (Blue Note)
Nobody could drum like Art Blakey. A natural leader on the bandstand who combined both power and subtlety, he instinctively knew how to make a track swing but could also complement a soloist, employing his volcanic press rolls to create drama and offer inspiration. All those qualities can be found on Moanin’, his 1958 LP with The Jazz Messengers. The infectious title cut, penned by pianist Bobby Timmons, who laces his composition with churchy inflexions, anticipates the soul jazz style that became popular in the 60s. Saxophonist Benny Golson contributes four top-notch songs, including ‘Blues March’, ‘Along Came Betty’ and ‘The Drum Thunder Suite’, the latter of which is an explosive showcase of Blakey’s polyrhythmic prowess. On trumpet is a 19-year-old Lee Morgan.
Key song: ‘Moanin’’
Enjoy the music and stay safe.
Dave
10 Likes
Much better sound in the Mosaic set thanks to remastering in the new Mosaic compared with either the old Verve CD or A&M Horizon vinyl. Worth every penny - in my view.
You pays your money and you takes your choice. 
Dave
Indeed !
Not to forget that there is also a lot of previously unissued but very high quality music on this set. Including the Quartet minus Bickert but with Dave McMurdo.
Haven’t seen Haden/Metheny Missouri Sky for years.
Easy listening it is. Nicely played and recorded it is, but why produce an album which sounds like a loop of the first track?
I have 26 albums of Pat Metheny with numerous collaborators. I did have 27, but Missouri Sky is the only CD of my 900 that I have ever disposed of. Says it all really.
Pat Metheny can miss the mark sometimes. I saw him with Brad Mehldau in Birmingham several years ago. While Mehldau was at one with his music, I have to say that Metheny’s performance displayed boredom.
You pays yer money…
I’ve seen Metheny a few times, but the best by a long shot was at the Hammersmith Odeon (when it still was the Odeon) when he was promoting the Offramp album. The album is almost fusion in places, especially when Pat’s playing his Roland G-808 cranked up loud.
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Shepherds Bush Empire doing ‘Imaginary Day’ was probably my favourite of the PMG tour appearances. His recent group with Gwylim Simcock and co. are well worth seeing too.
I think Imaginary Day was his best ‘Group’ album, but I have definitely missed out with some of his live performances of that era.
Would I see him again? After Birmingham, I’m not so sure.