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Mick Ronson exploded into my world when “The Man who Sold the World” came out–he was the first ROCK guitarist that excited me after Hendrix. This is a reissue/remix cd featuring Bowie’s intended title and cover.

A cool morning, a bit warmer than yesterday. Memphis the new dog has just eaten and is chilling on the bed. I finished the last few tracks of the excellent promo sampler of Keith Jarrett’s Blue Note box set on ECM. A great selection of killer performances! I didn’t have time to listen to the entire disc yesterday evening. Now I am playing disc V1 of “Woody Shaw The Complete Muse Sessions” from Mosaic Records. Some great Cedar Walton!

Antonio Hart: For The First Time. Novus/BMG PD83120 [Germany 1991] Line-up: Antonio Hart (as), Roy Hargrove (tp), Thomas Williams (tp), Bill Pierce (ts), Mulgrew Miller (p), Christian McBride (b), Lewis Nash (dr)

September 30 Antonio Hart - 1968

50th Anniversary box

I don't have the 7 disk box of original Pentangle albums, but I have the other 2. Through the Ages is great! The BBC box was a little disappointing in that some of the recordings aren't very good, but I'm glad I have it anyway. All the original members are on Open the Door, except for Renbourn. Danny left after that.

It is a great set, though I didn't have any luck selling my copy either. I did, however, find a university music library that accepted it as a donation. (Not that easy these days, as we discussed on another thread...)

I expected that their presence would draw some interest here!

I definitely will check this out. Hart and Cyrille!

R.I.P. He always left a good impression when I heard him on a recording. There were quite a few pianists like him on the West Coast, but they all were good.

Whirlwind Recordings Presents John O’Gallagher's ANCESTRAL Featuring Andrew Cyrille and Billy Hart The first-ever recorded collaboration between the two master drummers. CD, LP AND DIGITAL FORMAT AVAILABLE ON OCTOBER 24, 2025. WR4840 | WWW.WHIRLWINDRECORDINGS.COM John O'Gallagher - alto saxophone Ben Monder - guitar Andrew Cyrille - drums Billy Hart - drums Ancestral marks a profound metamorphosis for master saxophonist John O'Gallagher. He cast off his old skin, fundamentally altering his studies, homeland, and life, thereby charting a new future. Recorded at Sound on Sound Studios in Montclair, New Jersey, in January 2024, Ancestral was influenced, in part, by O’Gallagher’s PhD studies into the music of John Coltrane, and reunites the versatile reeds player with guitarist Ben Monder while, notably, features the first-ever recorded collaboration between master drummers Andrew Cyrille and Billy Hart. “Basically, my PhD (available on O’Gallagher’s website) is an analysis where I transcribed all of Trane’s solos, spelling out what he does on his late recordings Interstellar Space and Stellar Regions. And it shows that free music is not free, not the way people think it is. Trane was definitely thinking about organization in those records. This research definitely gave me ideas about how to be freer within the systems that I had developed, and how to perceive them in a more organic way.” John O'Gallagher © Sam Slater O'Gallagher's latest recording marks a significant artistic evolution, following a period of considerable personal change. After leaving Brooklyn, New York, he and his wife relocated to the UK before ultimately settling in Lisbon, Portugal. This journey, coupled with dedicated study, profoundly shaped his new music. O’Gallagher, Monder, Cyrille, Hart, and Coltrane: a potent brew. In an album consisting largely of first takes, O’Gallagher’s compositions vary from through composed pieces to skeletal charts to full-blown group compositions/improvisations Cyrille, O'Gallagher, Hart, Monder (l to r) © Owen Howard ‘Awakening’ begins slowly, like a spectral dawn, mallets dancing on drumheads, guitar and saxophone unfurling like a mist, forecasting the muscular middle section. “I wanted to portray something that felt ancient and organic, almost like a folk song. It awakens when it begins, introducing the listener to this emerging melody, and gets more intense until the final crescendo.” Like some skittering New Orleans rumble, ‘Under the Wire’ cavorts and skips, dips and cajoles. “It’s a blending of swing, a bass ostinato that Ben plays, with an interesting melody. It’s maybe Monkish in some ways; that was the idea behind that, just to have fun.” The rustling percussion and angular guitars of ‘Contact’ portend an eerie solitude, its meeting points unknown. “It’s an improvised piece that Ben did with Andrew and Billy. It could mean a lot of things: get ready to take off, contact, strap in.” ‘Tug’ is regal, wily, flowing, salty, ethereal, explosive. “The way Andrew is pulling at the time and almost doing the same thing as the harmony. Billy, laying down the time, it's so beautiful. These musicians are masters of listening and creating textures and forms.” A bubbling, floating feeling informs ‘Profess,’ its energy and quaking drive recalling a Paul Motian recording. “That was a melody from a larger piece that gained its freedom. It became a thing unto itself. ‘Altar of the Ancestors’ harkens back to Trane’s explorations, like when Trane plays ‘Vigil’ with Elvin Jones. The idea for the musicians is this is the altar at which we pay homage to our forefathers, the bandstand.” Andrew Cyrille, Billy Hart © Owen Howard “'Quixotica’ feels like you're in a loop that feels familiar, but it's always changing and disorienting. The nature of the loop is such that you can't really tell what's different, but you know things are different as they evolve. The melody is this descending line, but each time it's introduced, it’s slightly different. ‘Postscript’ is completely improvised, the first thing we recorded. The way Ben ends the tune, I think he's playing a low E, gave it this falling feeling, like an ending to the record. I could have placed it differently in the order, but even though we live in a time when people don't listen to records, it felt like that should be the end to the recording.” Ancestral, in all its beauty and fragility, dynamism and power, proves the cosmos is always asking questions; it's up to us to unearth the answers. TRACKS 1. AWAKENING 2. UNDER THE WIRE 3. CONTACT 4. TUG 5. PROFESS 6. ALTAR OF THE ANCESTORS 7. QUIXOTICA 8. POSTSCRIPT Recorded at Sound on Sound, Montclair N.J. Engineered by David Amlen Mixed by André Fernandes/Estúdio Timbuktu Mastered by Mário Barreiros Producer - John O’Gallagher Executive Producer - Michael Janisch Photography by Owen Howard Album Original Artwork by Jamie Breiwick and John O’Gallagher Graphic Design for CD & LP by Bside Graphics ABOUT THE ARTISTS John O’Gallagher John O’Gallagher (born November 8, 1964 in Anaheim, CA) is an internationally known saxophonist and composer whose career spans a thirty year period living in New York City (1988-2018) and nearly a decade in Europe (currently in Lisbon, Portugal). He has performed in ensembles with some of the most renowned musicians in jazz: Joe Henderson, Kenny Wheeler, Maria Schneider, Tyshawn Sorey, Tony Malaby, Michael Formanek, Kris Davis, Jeff Williams, Rudresh Mahanthappa, Peter Evans, Al Foster, Thomas Morgan, Clarence Penn, Mike Gibbs, Gerald Clever, Paul Dunmall, Tom Rainey, Drew Gress, Ben Monder, Billy Hart, Jason Palmer, Ralph Alessi, Dan Weiss, Noah Preminger, Leo Genovese, Mary Halvorson, Chris Cheek, John Hebert, Rudy Royston, et al. He has appeared on more than 80 CDs (with 13 as a leader). Within his discography, recordings in which he has participated have received two Juno Award nominations, two Grammy Award nominations, and one Grammy Award. O’Gallagher is active in jazz education, performing and teaching masterclasses at numerous conservatories around the world. He is the author of ‘Twelve-Tone Improvisation’ published by Advance Music and is currently developing a book from his groundbreaking Ph.D. dissertation on John Coltrane: ‘Analyzing Pitch Structure in Late-Period Recordings of John Coltrane: Interstellar Space and Stellar Regions’. www.johnogallagher.com Master drummer and composer Andrew Cyrille began studying science at St. John’s University while playing jazz in the evenings. He began formally studying drums and composition first with Philly Joe Jones in 1958, and later at The Juilliard School and Hartnett School of Music. At that time, he also performed with artists ranging from Mary Lou Williams, Coleman Hawkins, Roland Hanna and Illinois Jacquet to Kenny Dorham, Freddie Hubbard, Walt Dickerson, Rahsaan Roland Kirk, and Nigerian percussionist Babatunde Olatunji among others. Beginning in 1964, Cyrille’s 11-year iconic collaboration with pianist Cecil Taylor would define the category of free jazz drumming and establish Cyrille in the vanguard of jazz drummers and percussionists. Since leaving Taylor’s group, he went on to work with formidable artists as David Murray, Muhal Richard Abrams, Mal Waldron, Horace Tapscott, James Newton, Peter Brötzmann and Oliver Lake. Cyrille was the drummer on Billy Bang’s ‘A Tribute to Stuff Smith,’ notable for being the last studio session of Sun Ra. Cyrille leads his own groups in various formations with luminaries such as Archie Shepp, Roswell Rudd, Marilyn Crispell, Bill Frisell, Richard Teitelbaum, Dave Douglas, Joe Lovano, Jason Moran, Vijay Iyer, David Virelles, Bill McHenry, Ben Street, Henry Grimes, William Parker, Soren Kjaergaard, and others. Cyrille is a recipient of the 2020 Doris Duke Artist Award, a 2019 commissioned composer in Chamber Music America’s New Jazz Works program, the 2019 Vision Festival Lifetime Achievement Award honoree by Arts for Art, Inc., and a Guggenheim Fellow in Composition (1999). William “Billy” Hart (born November 29, 1940 in Washington, D.C.) is a master jazz drummer and educator who has performed with some of the most important jazz musicians in history.Early on Hart performed in Washington, D.C. with soul artists such as Otis Redding and Sam and Dave, and then later with Buck Hill and Shirley Horn, and was a sideman with the Montgomery Brothers (1961), Jimmy Smith (1964–1966), and Wes Montgomery (1966–1968). Hart moved to New York in 1968, where he recorded with McCoy Tyner, Wayne Shorter, and Joe Zawinul, and played with Eddie Harris, Pharoah Sanders, and Marian McPartland.Hart was a member of Herbie Hancock’s sextet (1969–1973), and played with McCoy Tyner (1973–1974), Stan Getz (1974–1977), and Quest (1980s), in addition to extensive freelance playing (including recording with Miles Davis on 1972’s On the Corner).Billy Hart works steadily and teaches widely. Since the early 1990s Hart spends considerable time at the Oberlin Conservatory of Music, and is adjunct faculty at the New England Conservatory of Music and Western Michigan University. He also conducts private lessons through The New School and New York University. Hart often contributes to the Stokes Forest Music Camp and the Dworp Summer Jazz Clinic in Belgium. He leads the Billy Hart Quartet with Mark Turner, Ethan Iverson, and Ben Street, which has released two albums on ECM Records. Hart resides in Montclair, New Jersey. A musician in the New York City area for over 30 years, Ben Monder is known as one of the most innovative and influential guitarists of his generation. Monder has performed with a wide variety of artists, including Jack McDuff, Marc Johnson, Lee Konitz, Billy Childs, Andrew Cyrille, George Garzone, Paul Motian, Maria Schneider, Louis Cole, Marshall Crenshaw and Jandek. He also contributed guitar parts to the last David Bowie album, “BlackStar”. Ben conducts clinics and workshops around the world, and has served on the faculties of the New England Conservatory and the New School. He was the recipient of a Doris Duke Impact Award in 2014, and a Shifting Foundation grant in 2013. Ben continues to perform original music internationally in solo and trio settings, and in a long standing duo project with vocalist Theo Bleckmann. Monder has appeared on over 200 CDs as a sideman, and has released 7 as a leader: Day After Day(Sunnyside, 2019) Amorphae (ECM, 2015), Hydra (Sunnyside, 2013), Oceana (Sunnyside, 2005), Excavation (Arabesque, 2000), Dust (Arabesque, 1997), and Flux (Songlines,1995)

Indeed. Also agree on having a rooting interest beyond DYD.

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Well, it can't be much worse than Mickey Rooney playing him in "Words and Music (1948). To quote then NY Times movie reviewer, Bosley Crowther (great name for a NY movie reviewer), "t is played with fantastic incompetence by Tom Drake and Mickey Rooney in the principal roles".

I never got to see Pentangle live, but did see Bert Jansch at the Main Point in Bryn Mawr in, I believe the late 70's . He was sort of quirky onstage but musically excellent.

This is great music of Baden Powell arranged and played by his pianist son Phillipe, and the excellent Brazilian guitarist Mario Adnet. Mario Adnet and Philippe Baden Powell “Afro Samba Jazz, The Music of Baden Powell” Adventure Music cd

Thom Rotella Right Time Left Impacting September 30th, 2025 Format: Jazz # Artist and Track Title Time 1. Thom Rotella - This Is for Lou 04:52 2. Thom Rotella - How Sweet It Is 05:23 3. Thom Rotella - In the Garden 05:24 4. Thom Rotella - Willow Weep for Me 05:07 5. Thom Rotella - What Hump? 02:57 6. Thom Rotella - Lazy Afternoon 04:34 7. Thom Rotella - Light It Up 04:42 8. Thom Rotella - Benny Thanks 05:59 9. Thom Rotella - Mr. Malone 05:02 10. Thom Rotella - Ray Brown's Shoes 03:38 11. Thom Rotella - The Girl from Ipanema 04:30 12. Thom Rotella - It Ain't What It Ain't ('Till It Is) 04:41 13. Thom Rotella - Shimmer 04:38 THOM ROTELLA'S LATEST ON HIGHNOTE RECORDS THOM ROTELLA - Right Time Left HighNote Records HCD 7361 Thom Rotella – guitars Wil Blades – organ • Charles Ruggiero – drums Lenny Castro – percussion (except tracks 5, 8, 12 & 13) Featuring: Jeremy Pelt – trumpet (8, 12 & 13) • Ernie Watts – tenor sax (1, 8 & 12) Tierney Sutton – vocal (6 & 13) • Antonio Adolfo – piano (9) With assisting artists: Tom Luer – bari sax • Bill Cantos – keyboards • Nick Mancini – vibes Trey Henry – bass • Tom Ranier – bass clarinet Airplay Starts Now • Suggested Tracks 1. This Is for Lou 4:52 • 6. Lazy Afternoon 4:34 7. Light It Up 4:42 • 9. Mr. Malone 5:02 Like our stuff? Let’s hear from you. Record Company Contact Barney Fields • HighNote Records, Inc. jazzdepo@ix.netcom.com • (212) 873-2020 • www.jazzdepot.com Thom Rotel... HCD 7361 T...

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