relyles

Darn. I was so happy when I came across a used copy of the LP last year. Guess I will have to take it back to the record store and order the CD.

You talkin' to me or to Late? If me, you got my email address (I don't want to post it here, as I've been without spam so far) ubu Late

I sent you a reply to the pm you sent me that i am also not sure whether you received.

The recording that introduced me to Lacy when I first started listening to jazz was the sextet Momentum on Novus. Since I only own ten recordings out of Lacy's vast output I can't opine as to its "essentialness", but I have always loved the version of "The Bath" on that recording. I also have a fondness for Lacy's trio recordings, The Window, by-ya and The Rent. On the topic of Potts I have always enjoyed his contributions to the various Lacy groups he has participated in. I think his expressive approach is the perfect foil for Lacy's comparatively calculated approach. What did other's think of the 1999 Verve disc with Roswell Rudd, Monk's Dream? I enjoyed that one a lot as well.

Yeah, I know what you mean.

Yep Jim, thats it. So have you heard Tenor Gladness? If so, how would you compare it to Apogee?

Maybe "controversial" is too strong a word. I can not remember the details, but I recall reading somewhere that there was some tension between Marsh and Tabackin that may have arose either during or after the recording of Tenor Gladness related to some comments Marsh made. I probably read it in the Marsh bio.

I have the LP and always found it to be somewhat less enjoyable than the controversial Marsh/Lew Tabackin pairing, which I love. Maybe the improved sound and the bonus material may make this reissue worth hearing.

Hand Jive

I just received this disc yesterday and still need to listen to it more closely, but my initial reaction is positive. Mark Turner is probably my favorite of the younger tenor players, but during my first few listens of this disc my attention has primarily been drawn to the varying rhythms and interplay between the trio. I would not describe Turner as a "powerful" tenor or his sound as "big" and sometimes he gets a little lost in the mix between the bass and drums. Grenadier's bass lines are the foundation with Ballard's drums accenting the rhythms while Turner's labyrinthine solos weave through the rest of the group. Interesting stuff so far and a disc that I will probably give repeated listens.

I purchased the disc when it first came out and went back and listened to it again when I started to check out Harris. Great stuff for sure. Harris sounds great on this disc as well as on a couple of radio broadcasts I have heard from this group's tour.

Oops. Sorry guys, I forgot the Harris/Kirk topic had been previously discussed before I posted my inquiry.

Here is a question that I have thought about during my investigation of Mr. Harris. Does anyone else think there is a parallel between Eddie Harris and Rahsaan Roland Kirk? It’s a little difficult for me to articulate, but while listening to a lot of Harris' music recently, Kirk kept coming to mind. No, their music does not sound alike, but I think there are similarities between the two. It probably has more to do with the evolution of their careers. Both, IMO had incredible technical abilities that were either ignored, taken for granted or simply not acknowledged by the majority of listeners. I think to an extent this may have been caused by the fact that both had periods where they did not play stereotypical straight-ahead music. It also may be because Kirk's simultaneous playing of multiple instruments and Harris' use of electric sax and other non traditional instruments distracted some from the true substance of their talent. I don't know. Any thoughts?

My initial exposure to Hemphill was through the World Saxophone Quartet. I love the WSQ with Hemphill and would be curious to hear why Chuck thinks Hemphill's talents were wasted there? He definately was the most developed writer in the group and it has never been the same since he departed. Does anyone know why he split? Other than the WSQ I have one of the Sextett recordings, Dogon A.D., Coon 'Bidness and a couple of unofficial live broadcasts. All of it, thoroughly engrossing music.

Not sure that I can pick a favorite recording, but I must point out that his current quartet is playing some stuff live that IMO is equal to anything he has done throughout his carrer. Neither of the recordings featuring this group really display just how great the band is.

I might be able to obtain a copy of the recording in the near future and if I do will comment on the music (as opposed to the evolution of the cover art )

Thank you Randy, I just added the Dickerson, Griffin, Roach and Ra to my ever growing want list.

I don't have time at the moment to read the entire thread in particular Jim Sangrey's guesses. I thought I heard Dewey Redman on track 8 - that is why I said it was familiar. Track eleven, it reminded me of some of the more conservative stuff done by Sun Ra. I might look for that album. Thanks for putting this one together.

I found some time to sneak in a listen to disc two. I apologize for my lack of editing and long windednes in some of my responses, but these are my honest reactions to the music. DISC TWO 1. I will confess that after posting my comments to disc one I reviewed some of the other posts on the first disc and accidentally saw a reference to Gil Evans regarding this track. I will admit that if I had not seen that reference Evans would not have come to mind. I have not heard enough of his music to even know what his style is like. With that said, this is definitely a piece where the arrangement is very important to its success or failure. Here the music is interesting. Once again, I do have a preference for smaller ensembles and this is something that I probably would not gravitate toward on my own. I do like the bass line. It adds an undercurrent of mystery to the track. This could also be someone like Maria Schneider, who I believe is also influenced by Gil Evans. 2. Here is one of the exceptions to my less than favorable feeling about jazz vocalists. BETTY CARTER. I have always loved her. One of the first jazz performances I saw in a club was Carter in a double bill at the Bottom Line with the Harrison/Blanchard quintet. I love her voice and how instrumental her voice can be. She can sing wonderful songs, but her voice also interacts with the other instrumentalists well. I do not know which specific recording this is from although I will point out that Carter also had some great musicians play with her like John Hicks and Cyrus Chestnut, which is part of the reason I always enjoyed her music. 3. I am trying to listen with open ears, but this track is just not appealing to me. Nice voices. There is some familiarity. Sorry, just not my kind of thing. 4. Interesting track. I keep expecting them to start something. I can appreciate the interaction between the vibes-bass-drums, but I could also appreciate an identifiable tune. This is the kind of thing that I would probably like to listen to several times because I would appreciate it more with each listen as I get more involved with the piece. 5. Sounds a little smooth in the beginning, but then we get that Frisell type rural guitar thing in there. Bass sounds like something I have heard in Pat Metheny group stuff back in the day. I have no idea who this is. No. I don’t like this track. 6. The first thing that came into my mind in the first ten seconds of the track was the blaxploitation movie era. No it’s not exactly like it, but that came to mind. The bass clarinet is trying to say something, but the backbeat is not really doing much for me. Let me start to clean the kitchen while the rest of this track plays. Maybe it will surprise me. Nope, no surprises yet. I really should not be so harsh. It is not that the music is not enjoyable on some level. It really is just a matter of what I listen for. I can listen to something like this as background music, but it is not the type of thing that will make me sit and listen attentively. I am always hoping to hear something that will surprise or even better shock or wow me. This just does not do it. 7. I like this groove so far in the first couple of minutes. I have always liked tunes with strong bass vamps. It feels like the tune is building up to something. Not an incredibly involved, or complex sounding piece, but I feel drawn into the vibe of the piece. Quality flute solo, but I do not know who it is. The piano makes a good effort to keep some tension in the piece with the stuff played underneath the flute. I bet when the answers are revealed I am going to be disappointed with myself for not recognizing the pianist. I am sure it is someone in my collection. The style sounds familiar, but I am not sure. The three that came to mind while listening were Pullen, Tapscott and Weston although there is nothing in particular about the solo that was characteristic of either of them to me. It is more the feel of the piece and the solo that conjured images of those three masters. Nonetheless, the more I listen I am certain it is not any of them. I like this track. It is a little long. Maybe it is Randy Weston. Hmmm, I look forward to the answer. 8. Randy you sure have some eclectic tastes – and I mean that as a compliment. This is something new to me. Kind of atmospheric with not much fire to it. The mix is a little funny, but the tenor is familiar. Sounds like Charlie Haden on the bass. 9. Expressive trumpet. I am tired. My wife will be home from work any minute and I don’t want to get caught. Sorry – temporary distraction. I have listened to a lot of music like this. The drummer is really kicking these guys in the butt. No I do not know who it is. The tenor really let it all out. Music like this appeals to my emotional side more than my intellectual side. I would have to think that is what the musicians are going for here – grab you by the throat and make you pay attention. Here is a thought I just had – for all the passion that the two horn men solo with, did their solos tell any sort of coherent story? I am sure they did, but it is one you do not get on the first listen while sitting at the computer with one ear on the kids in their bedroom and the other on the music while at the same time fearing the arrival of the boss. In addition to wanting to be shocked by the music, I also listen for compelling stories with some logic that really say something. It is the difference to me between 50 cent and Nas. One has some nice hooks and is enjoyable, but in the end ain’t saying a damn thing. The other, IMO is nothing less than a street poet. I digress. Nice track. 10. Don’t like the echo. I may skip ahead to the last track. I am not going to skip ahead, but I am not having a response to this track. 11. Nice conservative track to end the compilation after the eccletism that preceded it. The sax is trying to push the boundaries a little. Is that Sun Ra? Sorry, momentary insanity.

I am a little late, but I finally had a chance to listen to disc one. I have not read any of the comments thus far and I typed my impressions as I listened to the disc. Therefore, these are my true first reactions to the music on Disc One. DISC ONE 1. I do not listen to a lot of big band music so I know that I would not be able to identify the band. The tenor soloist sounds familiar. Nothing particularly memorable about the tune itself, but the band plays with excitement. 2. Sounds like a Woody Shaw tune. Another tenor that I have heard before. If it is Shaw it could be Carter Jefferson. The tune has that late seventies early eighties Woody Shaw feel to it. Yes, I only need to hear the first three notes of Woody Shaw’s solo. He is my favorite trumpeter and I know him anywhere. I am not sure which album this is from, but I know I have it. Always a pleasurable experience for me to listen to Shaw. His music has a very distinctive sound that sounds like “Woody Shaw” even when he is not playing. I think it is from one of his Columbia recordings. 3. Wow. Another familiar tune. From Bobby Hutcherson’s Dialogue with Hutcherson, Andrew Hill, Freddie Hubbard, Sam Rivers. One of my favorite recordings and one that I have listened to numerous times. I think the tune is “Idle While”, but I am not sure about that. Great music. 4. No idea who it is. Enjoyable groove in the beginning, but right now I am wondering if this is all that there is going to be for the entire eleven minutes of the track? Okay, no it is not – here is the alto. I know this alto and it is annoying me that I can’t place it. It’s not Oliver Lake. I am enjoying the alto solo, but I apologize to the musician’s estate for not being able identify it. I still wish the percussionist would do a little more, but it is allowing room for the alto to do his/her thing. Hemphill? No. I do not know. Tune gets a little repetitive and goes on for too long with not much change in the action other than an increase in tempo. I would not feel compelled to add this to the collection. 5. An interesting beginning. The more it continues the pianist sounds a little like Mal Waldron to me. He gets a distinctive sound from the piano and is one of the few pianists whose sound I can usually recognize. I think he plays in the middle keys or something. With that said I am not going to commit to this being Waldron. Maybe I should shut up and just listen for a minute. A somewhat rumbling/ruminative piece. Not sure how much I like it. First impression is not overly wowed. I no longer think it is Mal Waldron. I almost moved on to the next track at about the ten minute mark during the extended drum solo. 6. I am listening to this disc on the computer while my daughter is watching some cartoon on TV. During this piece is the first time I have had a difficult time focusing on the music. I do not listen to much jazz vocals and this singer does not sound familiar to me. Okay there are more than one voice, but is it the same person overdubbed? Crazy idea. The piece did not do a lot for me. 7. Are there two basses, or is a bass and cello in there? Don’t know who it is, but I like this track. It sounds somewhat like a standard tune. Nice solo by the sax. Is that “Summertime”? Interesting arrangement. 8. The opening sounded very familiar. I love this kind of music – the piano less quartet stuff in the “Ornette” zone. I think I have this, but I am not sure who it is. Could be John Carter and Bobby Bradford. Of course this would have to be Carter before he started to focus on clarinet. For a second I wondered whether it could be Jimmy Lyons on alto, but no it is not him. Neither his sound, not his phrasing. A somewhat haunting piece. Carter and Bradford played a bunch of songs like this with the floating rhythm. Damn! I even think that I have listened to this recently, whoever it is. 9. There is definitely a variety of stuff on this disc. This sounds like an older saxophonist. Contemporary guys don’t use that kind of sound. It also sounds like one of those people that I should know, but have not taken the time to investigate properly. Very passionate playing in a subdued sort of way. I need to listen to this kind of stuff more often. It has a nice calming effect and the saxophonist has an appealing sound. Its not Hodges, is it? No does not have his smoothness. 10. Coltrane from the Atlantic period. Coltrane was the first jazz artist that I was absolutely obsessive about when I first started listening to the music. Still no greater saxophonist IMO ever. Maybe it is not one of his Atlantic records. No matter, its great music. 11. Like the change to a different type of rhythm. Oops, the vocalist just came and spoiled it for me. Don’t like his voice. I like the groove of the piece. That’s about it. I will post on Disc Two after I have a chance to listen to it.

I agree that the disc provides a picture of several sides of Harris.

I listened to this disc a few times over the weekend. Overall I enjoyed the disc, if not as much as a couple of other Eddie Harris recordings I have heard recently. If nothing else, this disc showed a few of the many sides of Harris. My favorite track was the opening "Chicago Serenade". The group gets a nice soulful groove and sustains it throughout and Harris' solo is typically good. The group gets into an even deeper groove on "Illusionary Dreams". "Cherokee" is proof of Harris technical mastery of the horn and "Lover Man" is a nice rendition of the ballad. The only potential flaw to me would be the two tracks that possibly others will enjoy - "Don't Let Me Go" and "Listen Here". On both of these tracks Harris plays all the instruments with the help of a cassette recording of himself. I think this thing probably works better for the listener live as opposed to hearing it on a recording. For me, it sounded a little gimmicky. Harris singing through his tenor to emulate Billie Holiday singing is interesting, but in the end did not move me particularly. Also, I enjoy Harris' composition "Listen Here", but IMO this version does not add anything to the composition. While listening to these tracks I could not help but wonder what purpose they serve since we know Harris had a band available with him at the performance. He could as easily sang through his horn using the rhythm section that was on the gig, so why do it all by yourself, but to show that you can? Anyway, those are small gripes on an otherwise enjoyable recording.

Obscure in the sense that to my knowledge these have never been available in the United States, but possibly some of our members in Germany are familiar ... The German organist Matthias Bätzel. I discovered him within the past two years when I was doing a thorough investigation of jazz organ. I have three recordings featuring Bätzel, all of which are easily recommended to fans of jazz organ. The first two under his leadership both on the Swiss JHM Records label are the 2000 date Green Dumplings and Monk's Mood from 2001. Both are trio outings that show Bätzel's stated affection for both Larry Young and Don Patterson. The latter disc features all Thelonious Monk compositions and is the only organ date I am aware of to do so. In addition to the two under Bätzel's leadership there is also a 1996 disc on the Organic Music label under the group name Grooveyard titled Basic Instinct. This disc features the rotating tenors of Ron Holloway, Houston Person and another tenor whose name I can not remember. On this disc Bätzel proves that he can maintain a soulful groove with the best of them. Someone worth checking out.

They are in Connecticut this weekend. The concerts are not free, however. Probably can not make it anyway since my wife's birthday is the weekend (she is not a fan of the music).

I would say you have a good reason to be POd.