Blindfold Test #6 Answers

[randyhersom]

The only overriding theme was “things I love”. A couple recurring themes were emphasizing similarities between different stylistic eras and the fact that I had greater familiarity with recordings of the seventies than most other periods. My favorites tend to be those with a hypnotic groove, and highly dramatic music. I value exuberance and emotion over polish and craftsmanship, and I’m not picky about recording quality.

It’s been very enjoyable to quietly watch the discussion thread. The level of knowledge here is indeed highly impressive.

DISC ONE:

1) James Moody and His Modernists: Moody's All Frantic from James Moody 1948-1949 (Classics, originally on Blue Note), Oct 25, 1948

Dave Burns, Elmon Wright – trumpets

Ernie Henry – alto

James Moody – tenor

Cecil Payne – bari

James Forman – piano

Nelson Boyd – bass

Art Blakey - drums

Chano Pozo – bongos

I wish the sound was a hair better, but I always loved the raw energy of this track. It’s a little “out there” in its way. When I did a radio show, I would often use it as a bridge between bop or hard bop and freer pieces.

2) Woody Shaw: Obsequious from Love Dance (Muse) November 1975

Steve Turre – trombone

Rene McLean – soprano and alto

Billy Harper – tenor

Joe Bonner – piano

Cecil McBee – bass

Victor Lewis – drums

Guilherme Franco – percussion

Tony Water – congas

To me the ultimate in uptempo hard bop excitement. The theme just drives so hard. Composed by Larry Young and available in a few different versions, this is the one I first got to know and love.

3) Bobby Hutcherson: Ghetto Lights from Dialogue (Blue Note) April 3, 1965

Freddie Hubbard – trumpet

Sam Rivers – soprano sax

Bobby Hutcherson – vibes

Andrew Hill – piano

Richard Davis – bass

Joe Chambers – drums

This Andrew Hill composition is very expressive, with an optimistic sound and Monk in its soul. Freddie Hubbard absolutely kills. It’s just so delightfully off-kilter in some undefinable way. The leader has been hopelessly upstaged before he even begins his solo, but still finds some nice things to say.

4) Jackie McLean & Michael Carvin – De I A Comahlee Ah from Antiquity (Steeplechase) August 16, 1974

Jackie McLean – Alto, voice, other instruments

Michael Carvin – drums, voice, other instruments

The seventies were a time of increased awareness of the African roots of jazz. This catchy chant tune is the highlight of Jackie McLean’s most direct exploration of those roots. Play it twice and you’ll be singing along.

5) Mal Waldron and Gary Peacock: Heart of the Matter from First Encounter (Catalyst) LP copyrighted in 1976, AMG says recorded March 8, 1971. Never on CD

Mal Waldron – piano

Gary Peacock - bass

Hiroshi Murakami - drums

This is very much Mal’s style taken to an extreme. The first side of this album has two great tunes and I agonized over which one to include. This is the one I love more, even though the other, She Walks In Beauty, may be more accessible and melodic. I first got into jazz through Keith Jarrett’s solo concerts and am a sucker for hypnotic, percussive ostinatos. The Japanese drummer contributes plenty of energy to the proceedings.

6) Jane Bunnett: The Water is Wide from The Water is Wide (Evidence) August 18-19, 1993

Jane Bunnett – soprano

Don Pullen – piano

Kieran Overs – bass

Billy Hart - drums

Sheila Jordan, Jeanne Lee – vocals

Upon reading that a recording existed of Sheila Jordan and Jeanne Lee singing together, I knew I had to own it. Throw in Don Pullen and the opportunity to hear a soprano saxist that I had read good things about and never heard and you’ve got a very soulful listening experience.

7) Johnny Griffin: Soft and Furry from Change of Pace (Riverside) February 1961

Johnny Griffin – tenor

Julius Watkins – french horn

Larry Gales or Bill Lee – bass

Ben Riley – drums

The theme statement is so good. I first heard this in a longer live version and I just wanted them to keep playing the theme, the heck with solos.

8) John Carter-Bobby Bradford Quartet: Abstractions for Three Lovers from Flight for Four (Flying Dutchman/Novus) April 3, 1969

John Carter – alto

Bobby Bradford – trumpet

Tom Williamson – bass

Bruz Freeman – drums

Once again the hypnotic beginning and ending draws you in. I still tend to find some Eric Dolphy and Ornette Coleman harsh at times, but the lovely sounds here benefit from the trails they blazed. I definitely intended to frame this with non “avant-garde” tracks to lure in some cautious listeners.

9) Duke Ellington: The Star Crossed Lovers from The Great Paris Concert (Atlantic) February 1963

Duke Ellington – piano

Johnny Hodges - alto

Russell Procope – clarinet, alto

Jimmy Hamilton – clarinet, tenor

Paul Gonsalves – tenor

Harry Carney – baritone, clarinets

Cootie Williams, Cat Anderson, Roy Burrowes – trumpet

Ray Nance - cornet, violin

Lawrence Brown, Buster Cooper, Chuck Connors – trombone

Ernie Shepard – bass

Sam Woodyard - drums

The way Johnny Hodges wails on the climactic notes has always had a grip on me.

10) John Coltrane: Body and Soul from Coltrane’s Sound (Atlantic) Oct 24, 1960

John Coltrane – tenor

McCoy Tyner – piano

Steve Davis – bass

Elvin Jones - drums

McCoy Tyner’s hypnotic piano chords at the beginning were the first thing I fell for here. This is just behind Africa as my favorite ‘Trane, with Living Space right up there too.

7

11) Joe Lee Wilson: Crucificado from What Would It Be Without You (Survival/Knit Classics) August 31, 1975

Joe Lee Wilson – vocals

Monty Waters – alto, soprano

Ryo Kawasaki – guitar

Ronnie Boykins – bass

George Avaloz – drums

Rashied Ali – congas

I was familiar with and enjoyed Archie Shepp’s version of this with composer Dave Burrell on piano, before I heard Joe Lee Wilson’s version. Both are great, but the all-out singing makes this the one I return to more often. By happy accident, the last three tracks on Disc One form a kind of “passing it down” chain. Coltrane played in Johnny Hodges band, and Rashied Ali played in Coltrane’s. Anybody for a good game of “Six Degrees of Satchmo?”

DISC TWO:

1) Gil Evans: Las Vegas Tango from The Individualism of Gil Evans (Verve) April 6, 1964

Gil Evans - piano

Johnny Coles, Bernie Glow – trumpet

Jimmy Cleveland, Tony Studd – trombone

Ray Alonge – french horn

Bill Barber – tuba

Garvin Bushell, Eric Dolphy, Bob Tricario, Steve Lacy – reeds and woodwinds

Kenny Burrell – guitar

Ron Carter, Paul Chambers – Bass

Elvin Jones – drums

Late night romanticism from a master. Jimmy Cleveland’s the main soloist here. Not much Dolphy and Lacy on display, but this track might be a killer jazz trivia question. Is this indeed the only time the two played together?

2) Betty Carter: Deep Night from The Audience with Betty Carter (Bet?Car/Verve) December 6-8 1979

Betty Carter – vocals

John Hicks – piano

Curtis Lundy – bass

Kenneth Washington - drums

Betty is one of five artists, along with Sun Ra, Santana, Max Roach and a local NC band called Tornado, that I saw play at least three times. One of them was in the tour, but not the concert, that produced this exquisite live album. She asked a lot of her players, as evidenced by the tightness of the tricky tempo changes here. She was a consummate entertainer and knew just what the effect of singing “deep, deep, deep … deep night” in that voice was.

3) Andy Bey and the Bey Sisters: Night Song from Andy Bey and the Bey Sisters (Prestige/OJC) August 20, 1964

Andy Bey piano, vocals

Salome Bey, Geraldine Bey – vocals

Jerome Richardson – flute, tenor

Kenny Burrell – guitar

Richard Davis – bass

Osie Johnson – drums

Continuing the mood with a recent acquisition. Now! Hear! is the name of the original LP which is coupled with the subsequent Round Midnight LP on the above CD.

4) Walt Dickerson: Warm Up from Peace (Steeplechase) November 14, 1976

Walt Dickerson – vibes

Lisle Atkinson – bass

Andrew Cyrille – drums

Walt likes to get a deep, soulful, vocal quality out of his bass players that contrasts with the clear crisp sound of his instrument but is absolutely appropriate to what he’s doing on the vibes. This short bonus track didn’t make it on to the two track original album, but if gives a short taste of what the longer Chant of Peace and Universal Peace have to offer. This is the album that started my Walt Dickerson collection. I now have all of his albums, including two that haven’t made it to CD to my knowledge, Unity and Jazz Impressions of Lawrence of Arabia. He never recorded as a sideman and hasn’t had a commercial release since 1982.

5) Terje Rypdal: Return of Per Ulv from If Mountains Could Sing (ECM) January or June 1994

Terje Rypdal – guitar

Bjorn Kjellemyr – bass

Audun Kleive – drums

I did want to include a European artist in my compilation. I became a big Terje Rypdal fan back in the mid 70’s with side one of Whenever I Seem To Be Far Away, which was as much progressive rock as it was jazz.

Upon hearing this album, this opening track grabbed me right away.

P. S. So many people mistook this for “smooth jazz” during the discussion, that I felt like I needed some extra listens and words. As the opening track of an album that is certainly not a smooth jazz album, I think the artist wanted something that would lure people in. He has crafted an attractive melody with which to do this. He plays the melody straight, the bass comes in to state it’s part of the melody, then he repeats the melody statement, perhaps a little less straight this time. The bass takes a short solo, then Terje starts his solo in fourths (about 2:13), the same interval that provided the crushing climax to his early and great “Silver Bird is Heading for the Sun”. About 30 seconds later, there’s what can only be described as an anguished cry from the guitar. The whole solo is pretty damn subversive for “smooth jazz” if you ask me. The man doesn’t just bend notes, he tortures them. It’s not the blues, any blues in it has been filtered through several layers of rock. Now it’s back to the melody to conclude one of the artist’s gentler performances, but one that still has the patented flash of case hardened steel.

6) Michael Howell: The Call from In The Silence (Milestone) April 1974

Michael Howell – guitar

Bennie Maupin – bass clarinet

Henry Franklin – bass

Ndugu (Leon Chancler) – drums

Kenneth Nash – congas, percussion

Organic, acoustic funk. Maybe even greaze. Bass clarinet rarely sounds this good or fits this well for me. Michael made three very good albums that haven’t been issued on CD as far as I know. In addition to this and one other Milestone, there’s a Catalyst solo acoustic guitar set where he covers McCoy Tyner’s Sama Layuca and Stevie Wonder’s Creepin’ very nicely. I think he went mainly into production/engineering after that. Unless it’s someone else by the same name, he popped up again in 1996 on a David “Bubba” Brooks CD.

P. S. Unlike many who commented, I quite like the bass playing. It reminds me of Charlie Haden’s playing on De Drums, De Drums and some of the Jarrett American quartet’s other funkier moments.

7) Randy Weston: Mystery of Love from Carnival (Freedom) July 5, 1974

Randy Weston – piano

Billy Harper – flute

William Allen – bass

Don Moye – drums, percussion

Steve Berrios – congas, percussion

One of my earliest jazz albums, the exotic, swaying groove here is still one of my favorites. Randy Weston recorded this many times, but this is the one I keep coming back to. Recorded live at the Montreux Jazz Festival 1974.

8) Keith Jarrett: Great Bird from Death and the Flower or 73/74 (Impulse) Oct 9-10 1974

Keith Jarrett – piano, soprano

Dewey Redman – tenor

Charlie Haden – bass

Paul Motian – drums

Guilherme Franco – percussion

Another early discovery, one of my most played LP sides where this track followed the exquisite Prayer, a duet between Keith Jarrett and Charlie Haden. People have criticized Jarrett for playing soprano sax on recordings, but for me it’s impossible to imagine this music without the soprano sax overdubs. Here we get the Jarrett and the American Quartet’s lyricism and propulsiveness all in the same track.

9) Max Roach: It’s Time from Max Roach Quartet Live in Tokyo Volume 1 (Denon) January 21, 1977

Max Roach – drums

Billy Harper – tenor

Cecil Bridgewater - trumpet

Reggie Workman - bass

Even though Odean Pope played very well with Max over a longer period, I still think that Max’s quartet with Billy Harper was the best band he had after the fifties. The two Live in Tokyo LPs have been my most hotly pursued collectors items until my recent good fortune in finding them at a great price on eBay. I remember watching this live quartet for the second time in the 70s and feeling that Cecil Bridgewater had made a big breakthrough in expressiveness, and I hear that here too. He reached a point pretty close to where the other three players already were. For a while I believed that this was briefly released on CD, but these days I’m not so sure.

10) Stan Getz: Another World from Another World (Columbia) 1978 or 1977

Stan Getz – tenor with digital delay

He never did it before, and he never did it again. Stan Getz’s improvisation using a digital delay processor is an entrancing piece of music with a real sense of excitement and discovery. From Stan’s own liner notes: “Something unexpectedly exciting happened almost immediately, as I discovered that the delay enabled me to build chords, put note upon note and build harmony on top of harmony simultaneously and spontaneously.”

11) Sun Ra Quartet: Exactly Like You from New Steps (Horo) January 1978

Sun Ra – keyboards

John Gilmore – tenor, percussion

Michael Ray – trumpet, percussion

Luqman Ali - drums

Once I stumbled on the delicious irony of taking it outside with Stan Getz and bringing it back inside with Sun Ra, I knew that’s how Blindfold Test #6 had to end. I met Michael Ray at WRTI in Philadelphia in the seventies and got to hear some amazing live tapes he did with a local band called Up from the Cellar, Down from the Attic. His playing on this two record set is wonderful, as is that of the rest of the quartet. Not released on CD as far as I know.

P.S. added after viewing the discussion: Yeah, would have been nice if Sunny called up Ronnie Boykins instead of playing keyboard bass one handed, (or pedals two footed, not sure). But the amateurism translates into the humongous innocence of the man that pestered Columbia records with his steadfast belief that Nuclear War (lyrics: If they push that button, your ass gotta go, and what you gonna do without your ass) was a top ten hit. Without that innocence, no Space Is The Place, no walking out into the crowd and hugging concertgoers, no Ra, Sun listing in the Philly phonebook, no Pharoah’s Den convenience store, hand colored Saturn LP covers, etc. If it’s not your thing, that’s fine, but it was never Sun Ra’s intention to make the follow up to Sidewinder or So What.

Edited February 10, 2004 by randyhersom

[king ubu]

Randy, thank you very much for the two CDs! I guess I was a little harsh here and there in my assessments, but I enjoyed listening! And I will listen again, and feel ashamed at what I dissed, and at what I failed to recognize (the Andrew Hill, the Randy Weston...) or was too lazy to find out what tune exactly (as the Woody Shaw).

However, you did a great job, and your discs include music by several artists I will have to check out! Thanks!

ubu

[Tom Storer]

A fine collection, Randy, and many thanks!

However, I maintain my low opinion of the Mal Waldron track. I was afraid it might be Waldron (a pianist I almost always don't like), but it seemed too awful even for him. ;-) But one ringer out of two CDs is pretty good!

[couw]

after the discussion thread, there are no surprises left here. I'll see if I can find some time to sit down with your test and the handy list of answers again soon.

thanks again for including that Carter/Bradford track. I ordered the CD and I'm enjoying it a lot.

and I see AMG mentions Joe Bonner to be influenced by Tyner; my guess wasn't as bad as it looked then...

[relyles]

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

[Big Al]

5) Terje Rypdal: Return of Per Ulv from If Mountains Could Sing (ECM) January or June 1994

Terje Rypdal – guitar

Bjorn Kjellemyr – bass

Audun Kleive – drums

Is the rest of the album of this character and mood? Cuz I sure liked this track enough to wanna get the album!

[rockefeller center]

6) Michael Howell: The Call from In The Silence (Milestone) April 1974

Henry Franklin – bass

Glenn Howell – bass

P. S. This track seems to have two bass players per the cover.

Does Howell play electric or acoustic bass? Like I said in the discussion thread, it sounds like both electric and acoustic are on this track.

With the exception of the sustained open string, the bass sounds like an electric.

[mikeweil]

6) Michael Howell: The Call from In The Silence (Milestone) April 1974

Henry Franklin ? bass

Glenn Howell ? bass

P. S. This track seems to have two bass players per the cover.

Does Howell play electric or acoustic bass? Like I said in the discussion thread, it sounds like both electric and acoustic are on this track.

With the exception of the sustained open string, the bass sounds like an electric.

Michael Howell's brother plays an acoustic upright bass like Henry Franklin. Both are heard together only on two tracks, but not the one in the BT - the liner clearly states Glen Howell - bass on "In The Silence" and "Ebony King". The tonal difference between registers is caused by the pickup, direct input recording may have played a part. The overall sound of this LP is not exciting. Everything obviously miked very close, the drums are very muffled.

I don't like the sound I have to admit, and it is not earthshaking music, but somehow this LP holds a special place in my heart.

The track Randy chose is Michael Howell's composition, "The Call". The melorhythmic phrase at the beginning was one used by the local paperboy in the area where Howell lived in California, to announce the new papers were out. As simple as that, and quickly told ...

Now the story how I got to know is a little longer.

My first conga drum teacher back in 1978 was a guy named Tom Nicholas, born in Philadelphia, who lived in California for some years before moving to Europe, where he became a pretty much in demand conga player on the German jazz scene. His steady gig for several years, BTW, was an Afro-Jazz band named Mombasa, founded and led by Californian trombonist Lou Blackburn, but they hadn't met there (This band featured some interesting players: Carmell Jones for a year, the excellent but underrated drummer Doug Hammond, and a trumpeter living in Belgium, Doug Lucas). Before moving here Tom played with Bobby Hutcherson, the George Coleman octet (at last, here is the George Coleman BT thread revived), recorded with John Handy, Roland Prince, and - you guessed it - Michael Howell. It was on Howell's first Milestone LP, recorded in 1973, with the Hampton Hawes trio with Nyimbo Henry Franklin and Ndugu Leon Chancler, Tom on congas, and two different sax players. I gave my LP to Tom as he didn't have a reference copy. I kept the second, and Tom told me the story of this piece he kinda liked, and had played with Howell on some gigs in California. Howell recorded it on the second Milestone LP.

Bennie Maupin is clearly the best soloist on the album, up front in the mix, unaltered pure spund, and his sound with this personal mix of beauty, melancholy (up to resignation), and fire is what I like so much here. Howell is not an overwhelming guitar player, but here he is nice and open - there is a beautiful rendition of "Don't Explain" with just bass and drums. Remember, this is 1974, a bad time for straightahead jazz guitar.

Kenneth Nash is the critical factor on this LP for my taste, the small percussion is nice, but the conga sound is hard and dry, without any warmth, and he plays not enough in sync with the drummer, always looking for a space to fill, even though Ndugu is not overly busy. I never held Nash in high esteem, his ideas are limited - the only band he really fitted in nicely and where he played very well was that of violinist Michael White, who did a string of LPs for Impulse with Nash in the 1970's.

Howell recorded only one more LP under his name, and acoustic solo guitar album, where he had the guts to do McCoy Tyner's "Sama Layuca". I would like to take another listen, but found out I sold it with lots of other dispensable LPs when I needed money and CD storage room.

[rockefeller center]

Thanks for pointing that out once again, Mike. Any Ndugu recommendations? I like him on WR's "Tale Spinnin'" and don't think I have anything else with him.

[randyhersom]

Thanks mikeweil, I'll fix the flub on the credits.

[randyhersom]

5) Terje Rypdal: Return of Per Ulv from If Mountains Could Sing (ECM) January or June 1994

Terje Rypdal – guitar

Bjorn Kjellemyr – bass

Audun Kleive – drums

Is the rest of the album of this character and mood? Cuz I sure liked this track enough to wanna get the album!

Some darker moments, some more aggressive moments, some moments where the addition of a string trio gives the music an icy beauty. In my opinion this track is representative of its high quality, but is more polished and immediately accessible than much of the album. The Penguin Guide mentioned a couple of other tracks as favorites and did not mention this one. Maybe you should check out some 30 second samples if Amazon or CDUniverse has any available.

You might also conside Rarum - Selected Recordings which includes this track.

Edited February 9, 2004 by randyhersom

[Brad]

Well, I got the Gil Evans so that's about my usual quota . I don't have the Woody Shaw or Dialogue so I think that's something I'd like to check out. Plus, I'd like to listen to the Duke set.

Thank you again Randy for your hard work in putting these two discs together. I'm sure it took a lot of time and care and even though I may not have been keen on everything, I always appreciate the effort you and everybody put in to make these discs and get them out to everybody.

[JSngry]

I thought it was particularly interesting to have Rene & Jackie almost back-to-back.

Love ANTIQUITY! Probably won't be to the liking of many, but hell yeah! Jackie's whole series of early 70s work on Steeplechase, from when he emereged from the "seclusion" of academia and began to return to sporadic public performance, is kind of a "missing link" between his late BN work and his more "traditional" work later on in the 80s & 90s. As I mentioned in the answer thread, the album he did w/Rene's Cosmic Brotherhood band is particularly invigorating.

I wish Steeplechase was easily and readily available in the US like it was in the 70s, when Inner City put their stuff out. Too much great stuff there to have to work so hard to find it.

[catesta]

At the very least this BFT has inspired me to make two purchases.

I kick myself for passing both of them up before this.

Ellington's The Great Paris Concert and Coltrane's Sound.

Randy, thanks for the eye opener.

[Jim R]

Thanks mikeweil, I'll fix the flub on the credits.

Randy, one other thing while you're at it- the Johnny Griffin tune is actually called "Soft" and Furry. B)

[king ubu]

Thanks mikeweil, I'll fix the flub on the credits.

Randy, one other thing while you're at it- the Johnny Griffin tune is actually called "Soft" and Furry. B)

Now what sort of allusion is this supposed to be? Something close to "Warm Valley", I suppose?

ubu

edited for crappy spelling

Edited February 10, 2004 by king ubu

[Dan Gould]

I wish Steeplechase was easily and readily available in the US like it was in the 70s, when Inner City put their stuff out. Too much great stuff there to have to work so hard to find it.

All you have to do is contact their US Distributor:

Stateside Distributors-1004 N. California. Chicago, IL 60622-3408 Attn: Pete Crawford. Phone toll-free 1-888-776-0436 or e-mail stateside@prodigy.net

He also has Stunt and Timeless, three CDs or more and shipping is free.

[mikeweil]

Thanks mikeweil, I'll fix the flub on the credits.

Randy, one other thing while you're at it- the Johnny Griffin tune is actually called "Soft" and Furry. B)

Now what sort of allusion is this supposed to be? Something close to "Warm Valley", I suppose?

ubu

edited for crappy spelling

Ubu, you're on the right track with your fantasies .... Johnny Griffin is one of the greatest jazz composers of ballads and semi-ballads about the broad spectrum between sensuality and love - and I think he never got his due credit for it:

Soft and Furry

Lonely One

Oh, now I see!

When we were one

Slow Burn

Woe is me

To Love

The way it is

Dawn

Damn, there's a whole album on Galaxy: To The Ladies.

[king ubu]

Mike, I heard a list once of Ellington and Strayhorn titles in the more "concrete" category implied by my "fantasies" (as you call that...), pretty funny, actually - and that noone was offended on the side of record labels and radio stations etc is pretty funny, too - they didn't really take notice of it, it seems...

ubu

[mikeweil]

I forgot to mention one pretty waltz:

Lady Heavy Bottom's House

[mikeweil]

Mike, I heard a list once of Ellington and Strayhorn titles in the more "concrete" category implied by my "fantasies" (as you call that...), pretty funny, actually - and that noone was offended on the side of record labels and radio stations etc is pretty funny, too - they didn't really take notice of it, it seems...

ubu

If you consider some pretty outspoken lyrics on records of R&B artists, Wynonie Harris in particular, these censors must have been either stone dumb or laughing their asses off!

[king ubu]

Mike, I heard a list once of Ellington and Strayhorn titles in the more "concrete" category implied by my "fantasies" (as you call that...), pretty funny, actually - and that noone was offended on the side of record labels and radio stations etc is pretty funny, too - they didn't really take notice of it, it seems...

ubu 

If you consider some pretty outspoken lyrics on records of R&B artists, Wynonie Harris in particular, these censors must have been either stone dumb or laughing their asses off!

On the Dinah Washington VEE there's some pretty funny stuff, too! That tune about changing the channels on TV...

ubu

[mikeweil]

DISC TWO:

1) Gil Evans: Las Vegas Tango from The Individualism of Gil Evans (Verve) April 6, 1964

Gil Evans - piano

Johnny Coles, Bernie Glow ? trumpet

Jimmy Cleveland, Tony Studd ? trombone

Ray Alonge ? french horn

Bill Barber ? tuba

Garvin Bushell, Eric Dolphy, Bob Tricario, Steve Lacy ? reeds and woodwinds

Kenny Burrell ? guitar

Ron Carter, Paul Chambers ? Bass

Elvin Jones ? drums

Late night romanticism from a master. Jimmy Cleveland?s the main soloist here. Not much Dolphy and Lacy on display, but this track might be a killer jazz trivia question. Is this indeed the only time the two played together?

I was not surprised how many recognized Gil's writing, but I wonder why this record is not as well known as his collaborations with Miles - I think it is every bit as good, as is the first Impulse album.

Is this really OOP in the US? In Germany, Zweitausendeins still has it.

[JSngry]

If you consider some pretty outspoken lyrics on records of R&B artists, Wynonie Harris in particular, these censors must have been either stone dumb or laughing their asses off!

Truth is, the censors didn't care too much as long as the material was kept in the "race market". It was when the material began to cross over that they opened their eyes. That's how "Roll With Me, Henry" became "Dance With Me, Henry".

[connoisseur series500]

I might check out the Terje Rypdal session. Was really impressed by that track.

I didn't recognize the Hutcherson, "Dialogue" or the Johnny Griffin tune, though I owne/owned both cds. Figures!!

I did correctly guess Walt Dickerson on 2/track 4. I'm pretty happy about that.