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    Groove Merchant

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  1. George Mraz (1944 - 2021)

    R.I.P., George. You made some fine contributions, including Art Pepper's Village Vanguard records from the late 70s, many discs with Tommy Flanagan, and at least four Joe Lovano records.
  2. Roy Haynes--no more new recordings?

    There may be some issues these past 2-3 years, but again 10 years have passed by.
  3. Roy Haynes--no more new recordings?

    I am curious to know what happened to Roy Haynes as recording artist. He had a really nice stretch of records starting in 1998 and running to 2011. I've just picked up the last of those , Roy-alty, which is a pretty impressive date (check out the two piece with Chick Corea). That was 10 years ago and the only new recording in the past 15 years. I'm pretty sure he's still out there playing; it was about 10 years ago that I saw him live--outstanding show! If not studio recordings, how about official live recordings?
  4. Ted Curson/Don Cherry

    That seems odd, as I recall hearing and reading that Mingus was not very fond of what Ornette was doing in jazz. Nevertheless, Mingus did use Dolphy, who to my ears usually sounds more "out" than Ornette (though I guess he isn't in the technical sense). The Mingus group with Dolphy, Curson, Richmond, and himself (no piano) certainly has affinities with the contemporary work of Ornette, or at least I hear it that way.
  5. Welcome to BFT 210

    Not familiar at all with Sullivan. It seems that he has indeed recorded very little.
  6. Welcome to BFT 210

    Eight: After a nice bass opening, this one gets rather wild. The pianist sounds a bit like Don Pullen, but I’m not really drawn into his (or her) work...seems too mechanical. Nine: Pretty interesting, but very long. I think it has elements of Coltrane and Lateef, though I believe you said the personnel is mostly non-American. No idea. Ten: Decent piece with the soprano reminding me of Trane. Actually there may be two soprano sax players here. Even the drums sound like Elvin, in one of his styles. No idea. Eleven: I want to say this is Regina Carter, which I believe I guessed somewhere before. Twelve: Exotic stuff, and there are certainly Dave Douglas records with this instrumentation (or something similar). I don’t hear a trumpet, so no idea. Thirteen: Kenny Garret playing “What is this Thing” (Standard of Language). I enjoy his impassioned work. Fourteen: Nice inside/outside track. The approach reminds me of David Murray, though the tenor is certainly not him and not as distinctive. Overall, this is a consistently interesting BFT....and a tough one!
  7. Clifford Brown revisited

    I have enjoyed Clifford Brown from almost the start of my passion for jazz, which began in 1981. In contrast, I have hardly checked out Fats Narrvaro at all. But I will be rectifying that.
  8. Clifford Brown revisited

    I should listen more often to Clifford Brown. He is probably my third favorite trumpeter of all time, following Miles and Dizzy. His early death is one of jazz's greatest tragedies of all time. He had it all as a trumpeter, and was developing nicely as a composer. He formed two of the greatest collaborations--with Max (it's too bad Max hadn't really begun to work as a composer with Brown/Roach) and Sonny Rollins. Yes, basically four records by Brown & Roach, unless one includes the "strings" record (which has some real high spots and overall is pretty good for this sort of thing). There is more of Clifford Brown to enjoy--quite a bit given that he was just 25 when the accident took his life. Ah, but what might have been.
  9. Albums with titles based on leader's name

    I found this discussion late--about a decade late! As to the post that started it all, I guess you would regard Monk as one of the worst jazz artists of all time--given all those puns in the titles (or simple uses of his name). And Lee Konitz must be really bad too.
  10. Occasional Singers

    Roy Haynes sings on "Tin Tin Deo" on Roy-alty, though perhaps it's better to describe it as talking.
  11. Welcome to BFT 210

    I would guess Regina Carter on #11--not that I say that with full confidence.
  12. Welcome to BFT 210

    1. This music is often exotic and gets pretty out at times. I like how it goes through different tempos and moods. Could it be Don Cherry? I know one of his records used vibes—Karl Berger, I think. But this sounds like a bigger group, plus I think the tracks on the Cherry record are side-long. 2. Decent little groove number. I like the bass and drums. But no idea. 3. That sounds lot like McCoy Tyner; it certainly has a Tyner groove and the style is his, though it could be someone basically playing in his style. The trumpeter sounds like Hubbard, or someone indebted to him. I’ve heard just about all of Tyner’s records, and this piece does not sound familiar, but it is certainly enjoyable. 4. Fine little piece with some intense solos by the saxes—the tenor is definitely Booker Ervin. Nice piano as well, and strong bass solo—makes me think of Ron Carter, though it’s probably not him. down..... 7. I like the mellow atmosphere and (to my ears) the somewhat oriental flavor. The pianist again reminds me of Tyner, but of course his influence has been quite broad.
  13. Jazz guitarists--nice guys?

    Pat Metheny has that big grin and easy manner, but clearly he has a bit of a dark side. I guess we all do to some extent. I've heard he's a perfectionist, and those people will be mean at times.
  14. Jazz guitarists--nice guys?

    Not trying to prove anything...just an observation. I have personally not met any major guitarists other than Frisell for a few seconds. Maybe it's really more about jazz guys (in general) being nicer than rock guys. But we all know that there are some pricks in jazz, and usually we love them anyway--or at least love their music.
  15. Jazz guitarists--nice guys?

    I've had the strong impression of many jazz guitarists being really nice guys--laid back, friendly, dignified, articulate. I'm thinking of people like Jim Hall, Bill Frisell, Kenny Burrell, John Scofield, Wes Montgomery, and Pat Metheny. This is in contrast to rock guitarists, many of whom have been complete shits and wackos. I'm sure I am over-generalizing. I'm sure there are jazz guitarists you wouldn't want to spend two minutes with. But do others on the forum get this same feeling/impression?