ep1str0phy

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Everything posted by ep1str0phy

  1. David Ornette Cherry

    And Ravi? A chip off the old block. ← And just like with Don, it works.
  2. black saint/soul note

    (So long as this thread's still up...) I just recently acquired a copy of "Strange Serenade" (Andrew Hill-Soul Note). Alan Silva makes an excellent appearance on bass (not so much a background voice--more a piece of melodic counterpoint) and Freddie Waits--whom I've never heard in this sort of pseudo-free context--is stunning. This album feels a lot "freer" than the Blue Notes (to which I am far more accustomed), and there's very little in the way of "traditional" swing. Regardless, there's a definite sense of propulsion to the trio--seemingly, a one-off deal with a substantial amount of potential. The group really gets a chance to stretch on some startling, evocative "mood pieces"--some of which also appear on the "Test of Time" records. I may have to listen to this one again, but I think I like it more than a lot of the BNs--beautfiul, weird, wonderful stuff.
  3. David Ornette Cherry

    Sounds like a good recommendation from a poster I'm coming to have a lot of respect for. I've never heard of this album or of him. Is it still available? Details. please! ← Reciprocated. I don't know if it's in print, but it's certainly still available. I've seen it all over the cut-out bins (which shouldn't be an indication of quality). It's real cheap on Amazon: The End Of A Century If I remember correctly, the cover has David in a black suit with a head-mic. It looks sort of cheesy, but the music is sincere. I'm actually somewhat surprised that a jazz-oriented Cherry hasn't been making the rounds (I'd love to hear him in a group with, say, Denardo...). To summarize--good album, great personnel, very capable playing. Be warned, though: if I recall correctly, there's a lot of melodica.
  4. The End Days Are Near

    Have you heard this thing?
  5. What music did you buy today?

    A relatively big pull--and for cheap: Build An Ark: Peace With Every Step Khan Jamal: Cool Abdullah Ibrahim: Banyana Ike Quebec: Heavy Soul New York Electric Piano: New York Electric Piano Marion Brown Quartet: Why Not? Roscoe Mitchell Quartet: The Flow of Things Joe Zawinul: Zawinul
  6. David Ornette Cherry

    I have a copy of "The End of a Century," which (as far as I can tell) is the closest David's come to mainstream exposure. Of all of Don's progeny, David is probably the closest to the Harmolodic/post-Coleman camp (sonically, at least). On "The End...", he draws from both the 60's/70's avant tradition as well as more recent innovations in electronics and pop/rap. True to his legacy, he also breaks out some oblique instrumentation and "world music" tinges (there's a track called "Return From Codona"). Some of it is pretty nondescript, but it's nice to hear one of Don's sons engaging in the lexicon and (generally) succeeding. Anyway, Bobby Bradford, Phil Ranelin, and Ralph "Buzzy" Jones are on the album, so... I'd check it out--at least for the novelty factor. Fortunately, he has something to say.
  7. Tunes by (relatively) well-known artists...

    Doesn't the same apply (to a lesser extent) to Chambers's appearance on Breaking Point (where 'Mirrors' also appears)?
  8. Sun Ra - ON JUPITER (Saturn, 1979)

    I think this may have been happening with the BYGs. The last batch of reissues (what was it, Sunspots?) is still readily available on LP, but the CD issues are relatively scarce.
  9. Tunes by (relatively) well-known artists...

    Didn't the Ornette quartet record a version (or two) of "Cherryco" (unreleased at the time)--mistakenly attributed to Coleman--way back before Don Cherry's solo career took off? Probably doesn't count--Cherry was already a superstar with Ornette--but it was fairly early in the game.
  10. archie shepp & the full moon ensemble

    (waits to see where this one is going)
  11. AOTW November 6-12

    This one has been on my "to get" list for a while. How does it compare to the other Konitz duet sessions(/appearances)?
  12. No, unfortunately, although they look promising. I'm with you, though--most (if not all of this stuff) needs to get reissued. It just magnifies the fact that the younger set is missing out on all sorts of great, obscure musicians--LaMont included.
  13. Thumbs up on 'For Losers'. Thumbs even higher up for "The Magic of Juju'. 'Village of the Pharoahs' is pretty good if you like Sanders' rhythmic stuff with Joe Bonner and aren't worried about there not being much sax on it. ← Haven't heard "For Losers", but I agree with you on "The Magic of Juju". "Juju" is just about the most high octane, heavy churn Shepp on record (although it's matched by some of the BYGs). The only real problem is that it's a little uneven--the sax/African percussion romp on Side I just dominates. That being said, the other cuts are excellent (for what they are)--a little truncated, but beautiful. The charts are lovely.
  14. ...are you swingin'? Head's up--Demon's Dance is now available (Japanese pressing) at dustygroove. Hopefully it'll make its way over here (again, sooner or later). 'Bout Soul is one of my favorite McLeans, not least because I'm a big Moncur fan. All things considered, the band gels extremely well. Rashied is, of course, a dominant force, but Jackie's conception very much directs the proceedings. Moncur is great, and Shaw gets pushed out of his comfort zone a bit (with fascinating results--too bad he didn't do this more often). Special commendation to Holt and Johnson, who are (in retrospect) just about the most surprising rhythm section in all of 60's Blue Note.
  15. AOTW Oct 30-Nov 5

    Remember it? I practically lived there! Major sympathy from me here - both about the stagnation that was in the air at "our" college during the time of the fusion medusa, and about the DIYH LP. I didn't have the major experience that you had (I'll leave that for that day in the summer of 1970 when I bought Bitches Brew along with Cannonball Adderley Quintet and Orchestra from a store one afternoon here in North Texas), but I knew that I wanted more... and with it's addition to the great musical triumvirate of Body Meta and Of Human Feelings, I knew one could sooth the savage with Soapsuds, Soapsuds. Mary Hartman, Mary Hartman anybody? ← Soapsuds, Soapsuds is my favorite album of all time. Seriously, I don't think I could name something that I enjoy more. Anyhow, I have my share of maudlin, sentimental stories on that one, but then I'd be exploding this thread off topic (another AOTW somewhere down the line, maybe). Thank you for so much as bringing up what is surely a lost classic.
  16. The Nels Cline Singers - TBD (Cryptogramophone)

    Bradford + Hill = Is there any word on the repertoire? Oh, and I am hypnotized by your av.
  17. AOTW Oct 30-Nov 5

    Ah--but how do you feel about the later Prime Times (e.g., In All Languages, Tone Dialing--nice to see some positives on that, BTW)?
  18. What music did you buy today?

    Jemeel Moondoc & William Parker w/Hamid Drake: New World Pygmies (Vol. 2) George Cables: Cables' Vision Mingus: Charles Mingus Presents Charles Mingus (on a Dolphy kick)
  19. Roland Kirk on Fontana - HIP!

    The best part is that Rokirk seems visibly perturbed by all the hand/nose action.
  20. Cream

    Frankly, I'm still shocked by how many ways one can spin a pun on "cream rising". As per "Pressed Rat and Warthog"--yeah, I'm pretty sure it's specific to the reunion shows. The trio had minimal time to rehearse the bulk of the "Wheels of Fire" tunes, so few could be taken on the road. Which goes to show--at least some of this stuff is new wine.
  21. Cream

    Ummm - he must have been smoking something. What exactly is track 4 on side one of Live Cream, Volume II? Mike ← One of the other reviews mentions that Clapton spoke "tongue in cheek"--and Cream always was apt to abusrdity. And hey, I'm just glad they played it... Clapton needs to get busy with the wah-wah ballistics.
  22. AOTW Oct 30-Nov 5

    Full points... not quite as cohesive as "Body Meta" (culled from the same sessions, if I'm not mistaken), but easily among the most invigorating records in the Coleman catalogue (as far as I'm concerned). Perhaps I'm lapsing into superlative, but it's albums like this that keep me listening to music. When the groove kicks in on "Theme From a Symphony (Variation One)", you just know shit is gonna go down. There's a strange, giddy sort of "revolution" pervading Ornette's best sides, and these are no exception. The moment the alto comes staggering in, it's obvious that this is the same man who wailed over "Lonely Woman", screeched into "Snowflakes and Sunshine", and proudly, conclusively declared (his words or not...): "this is our music". To me, it's obvious why Ornette keeps returning to the "Symphony" head (known elsewhere as "The Good Life", "Tutti", "School Work", "Dancing In Your Head"...)--it really does stick. It's insidious, taunting, discomfiting, the creative Id completely unleashed and ready to take names. Superimposed over Prime Time's rollicking, sing-songy soundscape, it's all it once a musical commentary and a call to arms: "You want to funk things up? This is how I groove, mutha*******". And yet, there's something endearingly simplistic, "benign" about the whole affair. What separates Ornette from much of the movement he birthed is a sense of intellectual, emotional revolution--there's nothing militant about it. The irony is that "DIYH", in it's own way, manages to validate--perhaps elevate--the frivolty and inconsequence of a great deal of the post-"free" era. Here is Ornette--a forefather of the fire-breathing, acid-spitting "New Thing"--taking up the instruments of the counterrevolution, "checking out" and plugging in, tap dancing on the very verge of dance floor bullshit. But, as "DIYH" attests, it's not about the instruments, the era, or even fighting in the streets--what's important is the art: the highest order of human, personal expression. Ornette wasn't so much above the fray as he was a place apart. Like all the real legends, he innovated not through purpose, but through compulsion--the need to create. "DIYH" could have dated worse, and it is somewhat uneven (two takes of the same tune, a scratchy personal recording). Nonetheless, it is sonic proof that aesthetic can transcend all sorts of boundaries--you just have to do your own thing. This is his music, and--fortunately--it can be ours, too.
  23. AOTW Oct 30-Nov 5

    Thanks for picking this, JSngry. I'll definitely be back.
  24. I'm a big fan of Spedding's playing--"Harmony Row", "Songs for a Tailor", and the Battered Ornament sides are among my faves. That being said, MF (however droll) has a point... things would be different. And? They'd sound different, that's for sure... but so would the Miles Davis Quintet feat. Eric Dolphy. Missed opportunity? Moot point? I'll bite anyway. Spedding has never had McLaughlin's technical facility, although he's a fine player (and by reputation somewhat workmanlike in a more conservative jazz context). Nonetheless, he's always been phenomenally creative--pioneering rhythm/lead jazz-rock guitar, working with odd effects (drones, feedback, heavy overdrive, trebly wah-wah, wah-wah slide, etc.), and copping the odd Sharrock-esque trill long before it was popular. Spedding would have fit into the electric Miles context just fine--at least as well as the majority of guitar players who came through the MD groups. Some live dates with Jack Bruce (feat. Graham Bond, John Marshall, etc.) showcase a strong mastery of the Hendrix-breed skronk that Miles was so fond of. So, sonically, I think the mix would have worked (maybe making things a little bluesier). Then again, there would have been the personality clashes... and we probably wouldn't have those great Bruce/Ornament albums sitting around.
  25. Jack DeJohnette

    A friend of mine gave me "New Directions in Europe" some time ago. It's a fine album with some excellent improvising (this is the one that turned me on to Eddie Gomez). Still, I feel the band was capable of much more. There's quite a bit of heat for an ECM album, but the spectre of "iciness" really diminishes the band's more dynamic edges. Something tells me that an album of more compact features (ala "Nice Guys") would have served the band better (recording-wise). Still, better than most.