skeith

Fans of Frankie Lymon and the Teenagers, Does anyone else feel that the sax solo on Why do Fools fall in Love is one of the worst, perhaps inappropriate because it has nothing to do with the melody that went before and afterwards. It could have been phoned in. It has nothing to do with the tune.

I love a lot of Haden's playing especially with Ornette and with Jarrett. I actually like Quartet West quite a bit, at least the first 3 releases and then it did get a bit formulaic. I can see why some only like the first one. I think Broadbent and Watts are fine for this concept and Larance Marable, what's not to like. I saw this band live at the Catalina Bar and Grill in LA in the mid 90's and they just killed the whole audience. fantastic.

I love these Changes One and Two albums also. I do think that spirit was carried over nicely into the wonderful Don Pullen/George Adams quartet, which I was fortunate enough to see live and man did they play. One of the greatest jazz bands of the 80's.

Hey Joe, Thanks for bringing up Ernie Krivda, my homeboy is definitely a TDWR, as downbeat likes to say. I love his Cadence LPs : tough tenor/red hot, and Well you Needn't

This music sounds locked in a time warp and nobody does it today, but I like a lot of it. I mean tunes such as: Why do fools fall in love? Since I don't Have you Smoke Gets in your Eyes Only You etc.,etc. It would seem antithetical to much of what I like in music, but yet when I put it on or when it happens to come on and others reach for the off switch - I practically wrestle them to the ground.

Does anyone know if the Blue Trane will be the exact same remastering as on the hybrid CD/SACD that was recently released or will it be different?

John McLaughlin - My Goal's Beyond

Calling Miss Khadija!! Now that's one great blues head.

Some of you may have already seen this french film which features a lot of jazz and an in club performance by Urtreger, Humair, Michelot - I think - the credits went by fast. It is not a documentary and not about jazz but the lead character is clearly a fan. You will get jazzed by his marvelous jazz photo collection as the camera pans the walls.

Well Brad, As I have said before, this a one great CD and I think it is one of the best of Stitt's career. I play this one quite a bit.

I saw this one a couple of weeks ago and liked it very much, sort of a thinking man's apocalyptic zombie movie. Warning to inhabitants of New York and Washington, DC: the possibilities this movie presents may be too disturbing for some viewers.

Congrats Tony. They are little treasures, aren't they?

I guess it is too obvious, but my all time fav is BB King's "Live at the Regal" Goosebumps every time.

Thanks everyone for your recs which I intend to pursue. What about John Renbourn's "Sir John a Lot"?

Thanks Simon and Michael for your recs, Simon, yes the majority of the album John Barleycorn by Traffic is electric and not folkish at all, but the particular track of the same name is not electric - Sounds like just acoustic instruments to me. That is the sound I am looking for.

I was listening to the marvelous John Barleycorn Must Die by Traffic the other day and it sparked a vague memory that I was exposed to either Pentangle or Fairport Convention in the late 60's/early 70's and quite liked some of it. I am looking for the British folk music aspect, not electric stuff! Isn't some of it like John Barleycorn (I mean that particular track- not the whole LP, of course I love the whole LP)? Can anyone make any suggestions for cds with some explanations as to what it would be sounding like?

I know it is a bit late, but I wanted to say I am a big fan of this album.

Yeah DRJ, I agree that Extrapolation is due for a remastering given that the only edition I know of has been available for 10 years, because I would like it to sound even better. On the other hand I have heard much worse sounding Cds from that time. I think the recording engineer did a good job on this one.

Impossible, I do have and like very much Where Fortune Smiles, but I disagree that it is very different from Extrapolation- both albums feature John Surman and several of the ballads from Where Fortune Smiles would have fit nicely on Extrapolation. Where I do agree with you is that a couple of the tunes on WFS are more "out" than anything anything on Ex - but I think the intensity level on Ex gets just as high. Clunky, I love that track too, funny the booklet calls it "Binky's Beam" and the tray insert calls is "Binky's Dream", one of several discrepancies with the booklet and tray. My problem is I love every track on the whole CD.

Probably this has been said before, but here I go. I have been listening to this one for 30 years and it always, every time, sounds fresh. All Brits as far as I know and playing like monster musicians:McLaughlin, Tony Oxley, and John Surman stand out for me, but that bass player is great too. The compositions are great-McLaughlin was such an underrated composer- and while it is most definitely not fusion you wouldn't mistake it for a Wes Montgomery album either. Given that this was recorded in 1969 or 70 - the originality of the compositions is striking. I'm not sure where they came up with this music but it is exceptional and brilliant. I haven't said it very well here - and somebody else could in words to more justice to this album, but I have to say it is just marvelous.

Well Templejazz, Henderson is one of my favorite sax players. If you can do a search on this site, I believe a lot of posters here have discussed their favorite Henderson material or maybe that was the BNBB. IF the only BN material you have with Joe as a leader is IN AND OUT, I would not be too quick to ignore his other BN releases, since they are consistently among his best work, things such as Page One, Our Thing, Mode for Joe,etc. His Milestone stuff has a few clunkers, I am less fond of the fusion and avant garde stuff, but a lot of it is very good. It's all available on the Milestone box set, not all of it is on single cds, but Power to the People, and Live in Japan which are singles are particularly good. He's a monster, enjoy!

Jsngry, Well there is one thing you are forgetting Jim. Either Tune Up or Constellation was voted best album of 1972 by Downbeat or else it won a Grammy for best jazz album of 1972. That's how bad it really is! My memory is slightly foggy too.

I don't have an SACD player so I am listening to the regular CD layer and comparing it to my MOFI cd. The first thing I noticed is that the image on the RVG is much more in between the speakers where the MOFI puts the sound more to the sides. Also there appears to be more front to back depth on the MOFI and more of a sense of 3d delineation of the instruments, not a huge difference, but my initial preference is for the MOFI, although the RVG may be a tad clearer.

JSangrey I want to go back to your point on the connection between a musician's personality and his music. Thanks for taking a stab at analyzing Hodges and Desmond. Although from what I have read, regardless of what his pictures may look like, Desmond was not in the least bit a nerd. However, if I get your point, you seem to be saying the the paradox of one's music being unlike one's personality is solved by recognizing that there were other aspects to their personality and that everyone has these. That is true, but then doesn't that make any judgements about the connection between personality and one's music meaningless, because everyone is multifaceted?

Jim, So why don't you take a crack at reconcilingl the personalities of Hodges and Desmond with their music? I can't make the connection and am interested in your theory. And by the way, I don't think you should have come down so hard on Tony for making comparisons with Mobley and Rollins. We all do it. I seem to remember a while back you were spilling a lot of cyberink comparing Stan Getz to Joe Henderson. And yes, I think recommeding Silver City seems rather faint praise- I mean it is only 2 cds from about 30 years of work. I expected you to recommend the individual cds. I have most of them, and frankly it is not my favorite Rollins period and the sidemen are not always of high quality but there are a fair number of good solos. My biggest problem with Silver City is that when I look at the tracks chosen for that compilation, I often think that I would have made other choices.