Lazaro Vega

Great "Body and Soul." Great crowd, too.

Spoof. Ya think?

I tried, as a non-musician, to articulate the pitch idea on the previous post ("Easy Living").

Yeah Guy, that was the cut I hit hard for the radio.

You mean Robin Eubanks or trombone? Or was his brother, Duane?, playing trumpet?

C-addict wrote: "Holland and Eubanks both are very modern players but they both rely to a degree on licks and patterns..." Dave Holland is a soloist out of the Ornette Coleman tradition of phrase building allowing the solo to shape itself. Hear any of his solo albums and particularly the tunes "Jumpin' In" or "Homecoming" and the idea that he's a pattern player is hard to back up. He's a melodic bassist as a soloist, and a time conscious composer -- all of those shifting time patterns and metric layers in the new band and big band seem to be the nexus of their excitement and unless you really enjoy the nerd like pleasure of counting through a concert, or if you're a drummer and can really hear that detail and be awed by it, that shit devolves into Philip Glass like tedium. But as a soloist, I don't hear Holland as primarily a pattern player but a very melodic, cell based improviser (meaning, a cell of a melody will appear, develop, be elaborated on and generally guide the direction of the solo's over all form). You're welcome to disagree. When I hear "pattern player" I think of musicians who have studied books of solos by saxophonists in the post Coltrane era and have taken elements of maneuvering through the harmony out of context, divorcing the "pattern" from original intention. Maybe you think of that differently. The quintet of the 1980's, and especially the "Jumpin' In" band had something going in the front-line that I haven't heard too many people talk about: a connection to the sound of Booker Little's recordings. Julian Priester and Booker Little made for a tonally interesting combination on the Bethlehem recording "Booker Little and Friend." The color and character of the heads on that record owe a lot to their manipulation of, especially, minor-key tonality. Kenny Wheeler's main inspiration on trumpet is Booker Little, and, of course, he was with Holland in Anthony Braxton's phenomenal quartet along with Barry Altschul. When Priester and Wheeler found themselves together in Holland's quintet of the 1980's or 90's it gave that band a grounding in jazz tradition, a sort of path not taken with the early death of Little, that allowed them to build on something very unique. Now that was exciting. As for the vibes, as Holland said to me in an interview when the band with Billy Kilson played in Grand Rapids (both a concert and in a dude's house -- hanging out with those guys in this family's music room, books and cds, was big fun) the vibes lend a sense of "transparency" to the group sound. That's cool. Perhaps the "problem" folks might have with a harmony instrument in this band, again, is that the group comes from a tangent of Ornette's music where pianos and guitars have had an on-again, off again role.

It is a swinger.

"The Great Divide" features the 82 year old Chicago tenor saxophonist Von Freeman -- a one time schoolmate and bandmate of Gene Ammons, Johnny Griffin and Clifford Jordan -- with a New York rhythm section including drummer Jimmy Cobb, pianist Richard Wyands and bassist John Webber. The press release claims this is the first time since the 1940's that he surrounded himself with a New York rhythm section, which is too bad as in 1981 he and his son Chico played with Kenny Barron, Cecil McBee and Jack DeJohnette at the Public Theater ("Freeman and Freeman" is the recording on India Navigation) and recorded the justly famous studio album "Fathers and Sons" for Columbia. In any case, on "The Great Divide" the program includes long ballads "Be My Love," "This Is Always" as well as "Violets for Your Furs," a piece called "Blue Pres" (a slow reading of "Blue Lester") and Coleman Hawkins' "Disorder at the Border." He also reprises a hauling ass "I Got Rhythm" variation called "Have No Fear, Soul Is Here" first recorded on Nessa back in the 70's, here retitled "Never Fear, Jazz Is Here." Time, indeed, marches on. www.premonitionandmusic.com

It is cooking. Soulstice is a burning cut. The only trouble I had with the disc is the drum sound. Blanchard uncorks some hot, passionate playing on the latin number -- his Bounce tour and now this are good signs for a trumpeter who seemed more worried about being perfect than letting fly. I'm not a fan of his but have been more open to his playing here and on the Blue Note disc. Gary Bartz is 'Trane on alto, more or less, and fits the setting perfectly. And McCoy -- much rather hear this than his Burt Bacherach record (pee-u-ski). McCoy and Reggie Workman are the last ones from Trane's great modal period.

That interview in the booklet is incredible, especially talking about Chicago before going to New York. The European horn players may have benefitted from more rehearsal time, but by and large they dive into the improvs.

The nuances of each note as they string together shading the phrase are like negative and positively charged molecules, sharp, natural, or flat, giving the inner workings of the line a very subtle tension and release ("Easy Living" ).

Are you thinking this was a reissue of the Croyden concert on Freedom, or a new recording?

Charles made a nice version of "Evenin'" on the Tony Bennett "Sings the Blues" CD.

sidewinder: "Who would have ever guessed that Mingus did a tune named after sleepy Ashby-de-la-Zouche, Leicestershire ! " He didn't. Though there was a record of that name, it was not a Mingus disc. Also, the Dolphins of Hollywood label is detailed in the booklet that comes in the CD.

sidewinder: "Who would have ever guessed that Mingus did a tune named after sleepy Ashby-de-la-Zouche, Leicestershire ! " He didn't. Though there was a record of that name, it was not a Mingus disc. Also, the Dolphins of Hollywood label is detailed in the booklet that comes in the CD.

I'm high on the Soundtrack to Naked Lunch which seems to more organically meld Ornette's jazz trio with the London Symphony as well as musical textures from Morrocco and North Africa. Of course, this is music of Howard Shore and not completely the compositions of Ornette Coleman. It would seem with all of those instruments on hand in a symphony, Coleman would employ his multi-linear approach to group organization, but the Skies strings seem more employed in unison to create weight, say the same weight as brass instrument or saxophone. That produces a sort of mono chrome, a swinging one, yet I think the world has yet to hear a fully realized Harmolodic Symphony. ???

C Minor Complex is here: http://www.allmusic.com/cg/amg.dll?p=amg&u...l=Amgeb97ujkrht

http://www.crisscrossjazz.com/artist/BelgraveMarcus.html

http://www.sandnermusic.com/linernotes.html

Marcus has several dates as a leader, though mostly on smaller labels. His most recent recording under his own name that I'm aware of is his nonet tribute to Louis Armstrong, which will perform at the 12th Annual Sutton's Bay Jazz Festival (north of Traverse City on the Leelanau Penninsula) in July. You might check out Parkwood Records of Toronto to see other dates under his own name. Here he is with Doc Cheatham: http://www.jazzology.com/item_detail.php?id=JCD-324 Other sideman dates include McCoy's The Legend of the Hour on Columbia; a Mickey Tucker date on Muse; and a Kirk Lightsey recording on Criss Cross. Over the weekend Belgrave peformed a concert in Detroit, including a rendition of "Georgia" dedicated to Brother Ray. Belgrave remains one of the most dedicated jazz educators on the planet -- his interface with the Detroit Symphony Orchestra's student program is one of the most recent examples. Geri Allen, James Carter, Kenny Garrett, Rodney Whittaker, Regina Carter and just about any of the young players to come out of Detroit in the last 20 years probably played with or learned from Belgrave in some way. You might check out a regional (Great Lakes) pianist named Steve Sandner who hired Belgrave as a sideman for recording, including a version "Let The Good Times Roll."

And as much as independent labels will re-issue this, they won't be doing it from the original master tapes, which may give the label of ownership the possibility of adding more tracks, etc.

Larrry: "Not that it could or should have been otherwise, but is there a moment of humor in Trane's music?" Little Old Lady (?)

Don't forget Bix.

NPR has several features on their web page: http://www.npr.org/display_pages/features/...re_1947628.html

Thanks Chuck -- couldn't recall for sure. So Nelson only arranged that one Columbia studio session of Monk's music...? Was Don Sickler involved in transcribing anything for that re-union concert, or where those all straight from Overton?