All Activity

Again a Favoriten of mine. I hat seen Pharoah live quote often in the Earl 80s in acoustic quartet setting.

Of course it depends on what kind of music. I’m pretty sure some music releases more cortisol in my body 🤣

RCA Victor NL-45962 - Al Cohn / Shorty Rogers "Eats Coast - West Coast Scene" - rec. 1954

Bassist. My mistake. It was reported by Spike Wilner the owner of Smalls

VIK NL-45905 (FSR reissue 1984) - Elliot Lawrence Groups " Jazz Goes Broadway" rec. LA 1957 Reply Quick Reply

Who's the arranger on that one?

I know Ray Drummond the bass player, born in 1946. There is a drummer Billy Drummond (no relation) , born 1959. Now who is it, what is your source?

My goodness. .

I still smile when I think of Par Metheney's description of Jack's style as "sneakers in a clothes dryer". Apt!

Ray Drummond has passed away today. Rest in peace and thanks for the music.

Very sad to hear this. I had a very enjoyable dinner with Guy in Paris some 20 years ago and he was a truly gracious man.

Stunning 😍

Damn, this stinks. He was so kind, and graciously allowed me to use several photos of his for a book a while back. True stalwart. RIP.

Jerry Weldon is one of my 4 or 5 favorite currently active jazz tenor players. On track one he swings so hard that it brought a huge smile to my face!

Pharoah Sanders “Shukuru” Theresa 500×500 37.2 KB From this box set

1 – A cultural artyfact? Rating: N/A 2 – Third Stream Lives! Strong shades of Stan Kenton’s early 50’s Innovations Orchestra, though this was probably a few years later. Fairly interesting, but definitely overstaying it’s welcome with me. Though I’ll brave it out to the end. I’m ready for that nap you mentioned. Rating: *** 3 - Listening to this one subconsciously through my nap. Jan Garbarek on ECM? #2 sort of worked for me, but this one doesn’t. Sounds more European, where #2 sounded more American (and earlier). Rating: *1/2 4 – The nap continues. No frame of reference at all for this one, though I dislike it less than #3. But is it jazz? Is #3? For that matter, how much of #2 is? I know, does it matter if it is or not? The great part is that these cuts give me a broad runway for what I can include in BFT 261 next month. Rating: ** 5 – I actually like this, and I could (should?) see it being Kenton with one of his female singers. June Christy rather than Anita O'Day or Ann Richards or Chris Connor (I like all four of them quite a bit). Given some more time, I may be able to sleuth this one out Rating: **** 6 – And now for something completely different! Jolted me awake with the up tempo. Good cut, I like all of the soloists. Should be names I know. Jimmy Raney? Rating: **** 7 – Another good uptempo cut. Definitely preferring the “awake” second portion of this BFT to the somnambulant first half. These are newer guys than the ones in the previous cut, and I would guess it’s the trumpet player’s album. Seems modeled those Columbia Woody Shaw albums, but not his earlier, more exciting Muse albums. I may well own this one already. Rating: ***1/2 8 – I like this, despite the static quality of the latin percussion in places. Vinyl-sourced? Fidelity isn’t great, but the strength of the music overcomes it. My favorite cut on the BFT so far. Pianist and tenor player both reached me. Rating: ****1/2 9 – I like this, too. We’re into the afro-cuban portion of the program with these last two cuts. Flute player is strong, and I assume it’s his album. The composition is good, may be a standard I’m not recognizing. Rating: **** 10 – There seems to be a cut like this on every BFT (except mine), an old tenor master displaying his stuff. I tend to admire these cuts more than I enjoy them, but this one is pretty good for me, with the accompaniment being unexpected in some ways. Rating: *** Thanks as always for a bracing listen!

Incredible goal.

I saw Gumbs once when he was in his straight ahead phase in the early 00's, but he was off my radar for most of his other visits to the Boston area, when he was more on the smooth side of things. He was quite the pianist that one time I saw him.

I dig his work as a sideman. Mostly hear McCoy Tyner influence. I played this solo album once and it didn’t do a lot for me but perhaps I should give it another try

Zoot Sims said that “Stan Getz is a nice bunch of guys.”

some great Jack special edition 1980 shows at https://www.youtube.com/results?search_query=allintitle%3A+Jack+DeJohnette+1980&sp=EgIYAg%3D%3D with blythe, chico freeman, peter warren. i see only one 1982 show there, with david murray and purcell. the 1982 stuff is just as good. nurnberg 1982 https://www.youtube.com/watch?v=2rP9QetjTtA https://www.youtube.com/watch?v=htlDvOmhNOQ

On to the latest Mosaic. Really enjoying the first disc of “Classic Decca Recordings Of Bob Crosby And His Orchestra & The Bob Cats (1936-1942)” Mosaic Records box set.

Jack and Al I heard Jack DeJohnette live many times, but the first time I saw him in person he wasn’t performing. He was hanging out in the corner of a long-gone Greenwich Village club, Lush Life, checking out a casual trio gig by pianist Richie Beirach, bassist Charlie Haden, and drummer Al Foster. It was March 1982 and I was 18. On the break, my older brother crossed paths with Al at the sink in the men’s room. Without prompting, Al looked at my brother and said, excitedly, “Did you see Jack DeJohnette is in the club?! I’m so nervous! Jack is my idol!” Think for second about how brilliant Al Foster was, and how much he had accomplished by 1982. Only five months younger than Jack, Al was 39 and at the top of his game. Yet Jack’s presence at his gig had Al gushing like a 12-year-old who just saw his favorite baseball player in the flesh. That’s how great Jack DeJohnette was and how much respect he commanded from his peers. Now both Jack and Al are gone, having ided almost exactly five months apart. They died almost exactly five months apart, Al at 82 on May 28 and Jack at 83 three days ago on the 26th. It's almost impossible to fathom how much aesthetic ground Jack covered during his career, how many diverse bands and recordings he defined with his creativity and unique sound, how many drummers he influenced. Jack remains in a class by himself, partly because beyond his landmark work as a drummer, he was also an imposing bandleader, composer, conceptualist, and multi-instrumentalist. But Al also belongs in the top tier of post-bop drummers, and it’s interesting to think about the similarities and differences between them. Both were first-rate colorists, masters of texture and dynamics, each able to strike a groove across a dizzying array of idioms. There was more pure bebop in Al’s DNA than in Jack’s. Al might opt for minimalism where Jack might choose a maximalist approach. These are just generalities, of course. The decision making of both drummers was at once remarkably advanced and unpredictable. I never heard either make a bad choice on the bandstand. Some losses are tougher than others but losing Al and Jack within five months? Goddman ... All I can say is that whoever is running this fucking circus better be taking damn good care of Billy Hart and Louis Hayes.