pryan

I don't think we should gloss over the truth, if that's what you're getting at.

I did a swap with a friend of mine the other day and acquired this album (on vinyl). Hoping to spin it soon.

OK, it wasn't really a well-formed thought on my behalf, just something I kind of associated with the kind of contrast that you had made previously (Pepper and McLean). I still think I may be able to elaborate on my point a bit, but it may have to wait a bit.

Ok, to be more precise, I think the very late 60s were when Miles is reputed to have cleaned up, gone on a health food kick, stopped using drugs, and all that. 67-69. roughly. Not a very long time, but I do think it existed. But yeah, as the 70s got into full swing, Miles was back doing a lot of things. Yep, I'd agree with you on those points.

Larry - I think I understand what you're saying with regard to Pepper. Would you say that a comparison (or a contrasting of their respective styles) of Sonny Stitt and Gene Ammons is analogous with your contrast of McLean and Pepper? Stitt is somewhat like Pepper in that he seems to take the listener on a ride that is very smooth and the solo is beautifully resolved each time, whereas Ammons, like McLean, tends to have rougher edges, but nonetheless connects with the listener in a different, more emotionally-direct way (more "real", perhaps?).

I have zero Taylor in my collection (I should be ashamed, I know), but I think I might snap this one up tommorow. Sounds like something I'd dig; I'm a fan of "unfamiliar familiarity", or whatever Jim said in his initial post.

That's odd, Bertrand. I clicked "buy" on a Gene Ammons album, but it didn't contact the store in time and I managed to cancel. Did it charge you automatically? You should notify them so that they can fix the problem.

Not sure how you mean that, but that was supposedly one of Miles' sober periods. Not coincidentally, it'a also the peiod of his chops being at their peak. As for Pepper, I like him a lot, but can't "get close" to him emotionally. Which may or may not be the point of his music, I dunno. Don't know that he wanted to put it out there that readily... But that Vanguard stuff is da'bomb. Elvin & Pepper connected, so hey.... I don't think Miles had too many "sober periods", but if that Sony documentary is somewhat accurate then I think he was doing coke in the first half of the seventies. Steve Liebman mentions Miles taking pills and using cocaine, specifically. From what I gather, cocaine produces quite the adrenaline rush and you tend to think rather clearly. This may or may not explain why Miles was playing in the upper reaches of his horn, with short phrases, etc. I'm pretty sure Miles used coke throughout the decade between '65-'75.

HAH!! chalk it up that sound then, which I don't like either, bc i've NEVER heard of a committed avant-gardeist who thinks Spaulding was all that much. there is a legend that he was too much his own man, his own artist, to record as a leader but i can barely stand him as sideman. an ok color, i suppose, if you want THAT color but an almost aggressively dull soloist. i'd be happy to hear again any exceptions ya'll would like to cite but, years later, Spaulding didn't impress me when i saw him in the Murray Big Band so... cr HUB-TONES features Spaulding a fair bit (although Freddie clearly steals the show solo-wise) and he plays pretty well.

The Cooker. I think The Cooker and Candy ("Since I Fell for You" is so perfect!) might be my favorite 50s Lee, maybe my favorite of all Lee. He refined and matured on the later sides, but the energy and swing on those early sides are really inspiring, meaning I always feel like playing after listening to either of those. EDIT: I couldn't choose between Freddie and Lee. I love 'em both. Those two are killer. The quartet date is all the more impressive as Lee is the only horn (ie. only one playing a wind instrument). "Since I Fell For You" is a fave for me too; when I used to play trumpet, I spent a while one day working on some of Lee's passages on that one. A lot of that solo is based on the blues scale - the tune is not a "blues", but has very bluesy elements to the structure/feel (see also Stanley Turrentine's version on his BLUE HOUR album for further evidence of the blues influence on this tune).

In what way? Can you mention some specific examples of his "wrecking"? I wasn't the biggest fan of Spaulding at first, but I've grown to dig him a fair bit.

I've only heard the Saturday night single disc from the Vanguard sessions, but I liked it quite a bit (that one has a great version of "You Go To My Head"). The intensity of Pepper's playing was quite evident to me, but I hadn't realized that he was on a bunch of "stimulants" at that time. I thought he was relatively sober at that period of his life (obviously not). I think cocaine would/does impact an individual's playing; Miles from the later 60s and into the early 70s is a good example of this change. I'm not too familiar with late-period Bill Evans to comment; didn't know he was using coke either.

I have two hybrids, both on Concord (one by Stan Getz, the other is a Gene Harris quartet date). I'm getting the KIND OF BLUE "regular" SACD for Christmas. I wish there was a better selection at the brick and mortar stores.

He plays more than nicely on Mobley's THE FLIP. That's an underrated album, IMO.

Paul Chambers: GO (VEE JAY LP 1014)

Tony, I'm going to have to respectfully disagree with you re: Lee Morgan. I'd say that most of his sixties albums are of a fairly high standard. You say most of CORNBREAD is only "middleweight"? No, sir. That album ranks up with Lee's best albums period. Every tune is solid, with "Our Man Higgins" and "Ceora" as particular highlights. That "Ceora" trumpet solo is one for the ages, not to mention Herbie's 32 bar intro. THE SIXTH SENSE has some killer tunes/solos on it also; that album is very underrated, you should give it another listen. SEARCH..., TARU, SIDEWINDER, PROCRASTINATOR, LEE-WAY are all superior trumpet-led albums. His fifties stuff is good, especially when you consider how young Lee was when the albums were cut, but the sixties stuff is far superior (it features better Morgan trumpet solos and he has an ever-increasing hand in writing his own tunes. The Vee-Jay material, IMO, is better than the fifties BN stuff. CANDY is probably the best of the fifties stuff, but that's not to disparage the other albums contained on that now OOP Mosaic set (my first ever). The date w/ Pepper is smokin' too, particularly the "Tunisia" solo by Lee.

Warne Marsh: ALL MUSIC (Nessa) - Hearing it for the first time was a trip. Some of the stuff Warne does on the "It's You or No One"-based tune (and alternates) is mind-boggling. The four alternates, and one false start, of that tune are incredible and cool in that you see the final product (ie. master take) develop. Lou Levy is killer on this one too. And Larry Kart AND Jim Sangrey contribute liner notes. Duke Ellington: PIANO IN THE FOREGROUND (Legacy) - Great sound, great playing. I'm gaining more and more respect and admiration for Duke each day. Jackie McLean: RIGHT NOW (BN) - Some of the tunes on this one find Jackie in absolutely burning form. He grabs you by the nuts with his ferocious solos and your concentration doesn't waver a bit. The rhythm section kills as well. Ahmad Jamal: CHAMBER MUSIC OF THE NEW JAZZ (Verve) - Sheer beauty. Swings like a mutherfucker. That conga/guitar comp. is the shit too. I can't tire of listening to this stuff. Sonny Rollins: ALFIE (Impulse) - This one has long been one of Jim Sangrey's favorites and after hearing it, I soon found out why. The first tune in particular has a crazy extended solo by the leader.

Lou Donaldson: BLUES WALK (80s re-issue)

Is that Paul Chambers/Hampton Hawes album available on CD?

If you can get past those "unlikeable" aspects that Jarrett has, you'd get to his piano playing which is quite likeable, IMO. This guy is an important pianist, regardless of his attitude or vocalizations. Miles had many unlikeable traits, but those traits definitely do not detract from his beautiful music. The same could be said about Jarrett, I think.

Indeed he is. I only have vol. 2 (which I'm listening to right now). He shares the percussion duties with Sabu Martinez (congas) on the first date that also features Mingus and Wynton Kelly. Not sure how I feel about the congas on that session.

I only have KENNY BURRELL & JOHN COLTRANE and ELLINGTON IS FOREVER (vol. 1 on vinyl), but both are essential, IMO.

Is there a reason why you only take Paypal?

Von Freeman Quartet: YOUNG & FOOLISH

Up. Perhaps not many people know of John Young? Chuck - Is Young on those Von Freeman albums that you produced? Jim - Can you give me some recommendations? Anyone else with comments, etc. on John Young please chime in (Larry Kart, maybe?).