Jazz for aficionados

@orpheus10 Ah Blue Train--I have played this recording too many times to count. Trust me, my family tells me so. The whole album is wonderful and the title song itself never grows old to me.  
From the original liner notes: "The title number, Blue Train, is a moving, eerie blues. Trane rides swiftly down a lonesome track with Lee (Morgan) and Curtis (Fuller) shoveling extra coal into the boiler near the end of his solo....What is the most striking attribute (among many) about this LP is its free, but not disorganized, blowing mood that has everyone in exceptional from both individually and collectively"--Robert Levin
Levin got it right in describing the whole of this record. I too think the song Blue Train, recorded here, is close to jazz perfection.
I must say that Rudy Van Gelder listened to some of the best music ever made in real time--right there in front him.  

Went to the Village Vanguard earlier this week and heard Javon Jackson quartet. Stayed for both sets. They were very cohesive. Javon Jackson (tenor sax) Jeremy Manasia (piano) David Williams (double bass) McClenty Hunter (drums). Easily worth the ticket. Every player worth their salt. Of particular note: the drummer--he is young, he is fast, he is creative. Interestingly, Al Foster (drums--played with Miles Davis and many others--in his 70s now) was in the house and sitting very close to the drum kit. He seemed to be having a good time taking in the show and watching the young drummer work. Also, David Williams has played, it seems, with everybody of note and that dude can make his bass talk--doesn't matter where his fingers are on that fingerboard--he is money.

@jafant What is your assessment compared to earlier versions I'm guessing you own?

@orpheus10 Based on your post above, I recommend you listen to the song, "Sing in Portuguese" by Randy Stonehill on the "Wonderama" album (1992). It is a song for his grandmother, who was Portuguese, and it is hard not to like--although nothing close to jazz.
Regarding "Somethin' Else" I would add my voice to those that thoroughly enjoy this record. I own it as both a redbook CD (RBCD) and SACD. It is one of the few SACDs that I find rewardingly worth the SACD price paid for the difference between the RBCD and the SACD. There is absolutely nothing wrong with my RBCD version; the Analogue Productions SACD on my system simply sounds better to me. I consider Adderley's version of "Autumn Leaves" my favorite rendition of that jazz standard, which many artists have covered. "Alison's Uncle aka Bangoon" is also contained on my SACD (might be on others' RBCDs too). It is a terrific tune. According to Michael Cuscuna in the SACD liner notes, "In the early '80s, when I discovered an unissued tune from Cannonball Adderley's "Somethin' Else" album, I contacted the woman who handled publishing for Cannonball and Nat Adderley. She couldn't find a trace of music for the piece, but assumed that it must have been written by Nat Adderley since Cannonball didn't write very much. Because Nat's daughter was born on the exact day of the recording session, she gave it the title, "Alison's Uncle" (meaning Cannonball). And that is how it initially came out. Years later someone with keen ears pulled our coats to the fact that it was actually "Bangoon" written by Hank Jones and previously recorded by both Donald Byrd and Gigi Gryce." I guess that explains the absence of the music in the Adderley publishing archives....    

Listening to Julian Lage's new album "Modern Lore". He continues to amaze with his versatility. I saw him last year with Chris Eldridge playing songs from the "Mount Royal" and "Avalon" albums. Money well spent.  

@ghosthouse Thanks for asking about Lage. I agree with @acman3. Lage can play, it seems, almost anything effortlessly, without showing off. And acman3 is correct; his tone is great. He gets quality sound out of his electric instrument without silly effects, like a jazz master should. But he also excels on the acoustical guitar, which is to be commended.  There is nothing to hide behind when playing in this manner and he shines without over amplification. He composes quality songs, many of which appear built to be ear worms. He can do more than play lead--his accompanying work in the Gary Burton Quartet is beautifully done.

@acman3 I saw Brian Blade play with John Patitucci's All-Stars (Adam Rogers, Steve Cardenas) at the Iridium in NYC awhile back. BB was just as you describe above. I thought both he and JP were masterful at staking out rhythms that grooved with countless possibilities. He was subtle, he was in the pocket, he was exploratory and accentuating all while providing a refreshing foundation for the other players to build on. it was a joy.

@pjw81563...Ah if it were only that easy. While all guitarists "can" play acoustic, that doesn't mean guitarists, even professionals, play both electric and acoustic guitar at the same level. This doesn't mean a player can't excel at both. But, ask most guitar players who are being honest and they will tell you they are principally devoted to one or the other. It is a relatively short list of players who have mastered both. Even in the jazz world. I've been playing the guitar for 40 years--I wish I could pick up an electric guitar and do exactly what I do on an acoustic guitar and have similar results. Alas, pick attack translates differently--finger picking translates differently--note resonation is different, dealing with ghost notes (if you want them and if you don't), etc. 

@pjw81563 Hmm...okay, not how I interpreted your post "just play the same way they normally do with an electric guitar and an amp with an acoustic guitar and no amp." If you played the same way on both, one could sound terrific and the other could sound bad. 
No worries. Thanks for clarifying.