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He also did some really nice work with Sonny Rollins. That is, if you like Rolllins. If you don't then his work with Rollins was horrible. ;) >
>I completely forgot about that. I like some of Rollins work (once again, I'm not much for the Peterson trios that didn't have a sax and Rollins trios that didn't have a piano) :)
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>I'll have to check that out.
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I do have to admit to being a Peterson fan. I especially like his work after The Trio when he was joined by Niels-Henning Ørsted Pedersen, who, imho, may just have been the finest bassist ever to walk the planet (may he rest in peace). >
>As for Pedersen, yes, he was brilliant. I have the one album where he played with Dex. I'm not as familiar with him as I am with, say, Paul Chambers or Mingus.
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Anyway, regarding the documentary, you might give this a listen as prep - it's from a few months ago.
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>http://www.jazz.fm/content/view/2043/58/
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>Thanks for the link, I'm definitely going to listen to this tomorrow.
>(By the way, the only one of the major 1959 albums I don't consider a favorite was "Take Five" itself. It's certainly good, but I'll listen to "London Flat, London Sharp" before I listen to "Take Five")
I don't totally disagree, but I honestly believe that Take Five marked a major change in jazz, and if for no other reason, it's one of the truly important pieces. Not to mention that Paul Desmond is one of my heroes (as long as you concentrate only on his musicianship and ignore the gambling and chemicals). The man could play!
>If I could have been in the room for just one of these great moments, it would have been the night when a young Charlie Parker walked into a room of established sax players, and just left their jaws on the floor with his improvisational skills. (And moment #2 would have been any live performance from "Kind of Blue")
It would have been something to hear and see for sure. I'd like to have been a fly on the wall in the 40s at Mintons. Or, even better, a person in a seat at Mintons.
>I was born in the wrong era. :)
I know that feeling well.
