ep1str0phy

Ain't it the truth. I've seldom heard a better reason not to have a bass around.

A stunning, affecting album. Surprisingly direct, granted the title. In my opinion, this album bests "Happenings" as the best Hutcherson/Hancock quartet--there's just more adventure here. There's a definite sense of "emotional intution" about the combo work, bolstered (as others have pointed out) by Stinson's potent, supple basslines. All of it is worth hearing; some of it is just heartbreaking. Eminently enjoyable, if not as outright mindblowing as some of Hutch's other Blue Notes.

All great albums. I just recently got into the Morgan, although I've had it for some time. There's a wonderful sort of "lyrical mystery" about that one--dark, intelligent, heavy.

I go through periods of intense listening, but there are few albums that I return to year 'round. That being said, these got a lot of play: Cannonball: Mercy, Mercy, Mercy Air: Air Mail and Air Lore John Coltrane: Crescent Coltrane/Ellington: " " Eric Dolphy: Last Date Andrew Hill: Dance with Death Frank Lowe: Lowe-down and Blue Jackie McLean: Right Now! Oliver Nelson: Blues and the Abstract Truth Ike Quebec: Soul Samba World Saxophone Quartet: Dances and Ballads Frank Wright: Uhuru Na Umoja Lots of Art Ensemble (especially Nice Guys, Phase One, and Les Stances a Sophie) Too many to remember, really. But these old standbys always get play: Don Cherry: Brown Rice Miles Davis: Kind of Blue Grant Green: Street of Dreams Herbie Hancock: Speak Like a Child Andrew Hill: Judgment Ornette Coleman: SOJTC (Rahsaan) Roland Kirk: I Talk with the Spirits " ": The Inflated Tear Jackie McLean: Destination Out!

I'm a huge fan of his work. He will be missed.

Man, I remember when "Space Ghost" came on the air. I loved that music even before I knew who Sonny was. I actually watch Adult Swim (I guess I'm in the target demo [?]), but I'm not sure what's being referenced here. For a point of useless trivia, one of the commercial transitions features what sounds like a remix of Claude Thornhill's "Snowfall" (sounds like him on piano, anyway).

I thought this was reissued on CD on Black Lion many years ago. Might you be thinking of Coon Bid'ness? Chuck, 'Reflections' is the one I was thinking of. I know I had the vinyl of 'Dogon A.D.' back in the day. Jerry Gordon at Third Street Jazz in Philly got all of those Arista/Freedom releases really cheaply, and sold them for like $2.99. Reflections is Coon Bid'ness (and the circle of life goes on and on).

Baikida Carroll. Anyone?

I thought this was reissued on CD on Black Lion many years ago. Might you be thinking of Coon Bid'ness? Another criminally badass album. Was it reissued on Black Lion, though? From what I can recall, there were two Freedom CD reissues (the most recent one had new packaging and probably a remaster--that's the one I have). Edit to say this is the first time I've ever heard this album. And it's rocking me hard.

Listen man, I am not disagreeing with you - I would just prefer something to answer the question at hand, like whether this was insanity on Stollman's part or whether there was a major mainstream news article anywhere on Coleman around 1960. It would help, but picking at inconsistencies on my part doesn't help the question get answered, nor does claiming my philosophical ignorance help me, or anybody else on the board. We are all good at making one another look like asses around here, hence my original response, so it would be nice to redirect it to something helpful. Of course I don't know - but I am genuinely curious if someone around here could help by suggesting exactly what should go in place of the passage in question in the Stollman interview. I'm happy to alter it with something more concrete. OK? Well, there's this thing: Ornette -A little past 1960, though.

I understood that. And I have trouble with irony. Goodnight, folks.

First--this is BULLSHIT. Two--something very similar happened to me not too long ago... I was trying to clear an intersection, some cat comes out from the side (didn't see me coming, although I was fairly clear into his line of vision), almost T-bones my honda. Anyhow, quick responses prevailed... 'cause if I hadn't floored it, I would be dead by now (he took out the entire back third of my car). Anyhow, the guy wasn't drunk--he was just driving a seriously dilapidated automobile--I mean, phenomenally slow--without any insurance to speak of. To work. For his family. Teenager, by the way. To compound the unfortunate circumstances, this was his second or third accident in recent memory... and he didn't have a license. Oops! Premiums rise, that's for sure. Regardless, insurance will fight tooth and nail--that's their job, they get paid. But if this 18-year-old drunkard was driving without insurance, there are grounds for legal intervention... punitive repercussions should be substantial (in whatever sense--formal or informal). Regardless, I'm a huge fan of Mr. Ranelin's, saw him with Michael Sessions at LACMA this past summer. There are few trombonists I hold in equal esteem, and his albums have always been a joy of mine. I pray for his recovery.

Depends on whether you're Dolphy or Coltrane (as per your post above). I was speaking from the perspective of a listener, versus the artist him/herself (to which song titles are, often, eminently important). To qualify that statement, the importance of song titles to the artist can have some bearing on the listner's enjoyment (as well). Regardless, I think the issue is contentious (as you may agree). On the topic of the LPs--glad someone's been looking into it (JSngry). Anyone else listening in for this stuff?

Strange, severe things happen when you go to take a nap. Wake up and the world is a little different. R.I.P. to a Legend.

I'm not positive, but I'd bet on it. The way the layout looks, the designers probably just slapped some "groovy" looking print on a rare photo/outtake.

Christ, has no one seen this group?

Just got back from the 10 pm show (Thursday). Happy to say that I'm pleasantly surprised. Can't say that I was totally devastated, but the magic's still there. This isn't quite the rip-roaring A-Bomb of days past, but there's a definite sense of craftmanship to the group. Strong compositions, phenomenal arrangements, beautiful playing. Highlights (for me) included a wonderfully constructed tuba solo (Joe Daley), some fine tenor passages, and Curtis Fowlkes going apeshit. Hell, the whole band was beautiful (I just happened to be sitting in front of the horns). Too late to write coherently, but just enough to telegraph the love. See this band. I'd heard that the turnout wasn't too good (it was fine tonight)... this band deserves better. --ep1str0phy, basking in the irony of his previous entry... Edit--Venue! They're playing at Yoshi's. In Oakland.

I'm adding this 'cause I just got the album: Charles Tyler: Black Mysticism (from Charles Tyler Ensemble, ESP) Grimes is just outrageous with the multi-stops. I love it when he cuts loose.

Anyone want to dig up the "removing sticky stuff from CDs" thread from a couple months back? I have no idea what it was called.

Charles Tyler: Charles Tyler Ensemble (ESP) Teddy Charles (etc.): Evolution Joseph Jarman: Song For CT is kicking my ass.

Condolences and best wishes.

Maybe I'm in a minority but I really don't like Carter's cello playing, at least in the 60s. Guy I'm serious about those 1/4 tones. In the right moments, Carter's cello playing can be remarkably effective. I'd heard the anecdote that he was sick while recording "The Quest"--apocryphal or no? Regardless, I can't hear a substantial difference between his facility on the Waldron date and "Out There"--and I'm a tremendous fan of both sessions. I think he can drag, but the angularity of that cello sound is (usually) an asset--especially on ballads, especially bowed. At the very least, he's a great foil for Dolphy--grounded in convention, slightly askew. I couldn't imagine those New Jazz dates without him.

"Free Form" has always had me floored--some of my favorite solo improvisations (with fine contributions by Bley and Swallow, when they're present). I'd say that the 80s/90s cuts don't have quite the same "bite" that the others do--not so urgent, revolutionary. However, the improvisations are just as intricate, and the inclusion of more ostensibly "inside" foundational material goes a long way toward contextualizing the trio dynamic. I may not pull it out a lot, but "Fly Away Little Bird" is just beautiful.

Really, Dolphy makes for excellent atmosphere. There's just something so evocative about that tone, the lyricism, the intelligence. Wistful and robust, all at once--just like winter.

?? Nevermind--I had a case of spontaneous dyslexia. Excellent for confusing discourse.