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I saw the MJQ at The Cellar Door in '70 or '71. Great description!

As a kid, I always thought they lopped off the first part of his last name.

Sixties pop phenomenon Frank Ifield dies aged 86 (msn.com) I had a 45 of his on Capitol from '64, but I don't remember what it was. RIP.

Yes, it was a pretty weird situation back then. Lewis didn't seem to like bop very much at that point, and he was trying to take things into the third-stream direction. Besides Klook, Max had a more visceral reaction to Ornette. When Lewis made it possible for Ornette and Cherry to go to the Lennox School of Jazz, he was purposely trying to create a disruptive situation, because he knew people were not going to tolerate their presence at the school. Brookmeyer was trying to teach Ornette in an ensemble class, and he's quoted as saying to Ornette, "Damn it, play in tune!!" When Brookmeyer saw the attention Ornette was getting, he quit his teaching job in protest. The students were in a state of panic, not knowing who to believe. Martin Williams, the critic, lobbied the Termini brothers to book Ornette at the Five Spot. Miles reaction to Ornette was,"Hell, just listen to what he writes and how he plays. If you're you're talking psychologically, the man is all screwed up inside." Other sources have Miles putting it more pungently, according to the book. Ornette and Cherry didn't like Red Mitchel's playing, because he was doing what a bass player should do; outlining the chords. Percy Heath understood that, and tried to play more abstract bass lines that wouldn't involve the root as much as Mitchell did. Miles was a little easier on Ornette later saying, "I just didn't like what he and Cherry were playing, especially Cherry on hat little horn he had. It just looked to me like he was playing a lot of notes and looking real serious , and people went for that because people will go for anything they don't understand if its got enough hype. They want to be hip, want always to be in on the new thing, so they don't look unhip. White people are especially like that, particularly when a black person is doing something they don't understand". One friend of mine said he felt like he was at a funeral when he saw the MJQ play.

If you were at somebody's house listening to music and you didn't get to touch an object, could you tell the difference between a file on a hard drive and the same file on a CD? In other words, remove the tactile experience (which is certainly a real thing in itself), and what have you got?

+1. No ripping and file use for me.

Jon Hassell - Power Spot

Not me - I like the tactile experience of putting on an LP or a CD and playing/listening to it.

I am in the minority on this but to me the cd is packaging or delivery system. I no longer think of recordings as cd's. What really matters to me are the files on the cd. The first thing I do when I get a cd is to rip the files to my hard drive and copy to backups. The cd itself is just another form of backup for me. Having been read once, the cd goes in pristine shape to a storage unit.

Debussy, String Quartet Ravel, String Quartet Vlach Quartet (Supraphon)

sold

80s/90s Spanish punk from the Basque Country (the so-called "rock radical vasco", although Eskorbuto denied that label many times).

Gastr del Sol - Camoufleur

On the Townsend platter this is Barbara Simmons aka Barbara Donald .... always assumed that Barbara Simmons - whose work was published by Amiri Baraka - being a different person ....

John Keating - Space Experience 2 (EMI) Great version of Bowie's "Life on Mars."

Someone sent me a needle-drop of this LP. I'm digging it. The tune "Lolita" is my least favorite. It seem off from the rest of the tunes... not very bluesy. Also, it's too bad the recording engineer felt the need to add reverb to Edwards' sax. I wonder if there are tapes without it? The title track has some uncredited piano playing. If this is Jimmy, I'm glad he stuck to organ.

I will probably have some time next month and I plan on doing same, reworking some things from the Centennial box. Will report back.

It's not clear to me just how much Blakey and Monk worked together live (and I did red Kelly's Monk biography a few years back), but I always found they connected really well--even brilliantly. Art seemed to be the clear favorite drummer in the the Blue Note days, and there sure are some great performances. They got together pretty often for quite awhile. For instance, there is the 1954 (I think) "Blue Monk," which is as killer a piano/bass/drums track as I've eve heard. Art was masterful on the essential Monk's Music album. I also like the record where Monk sits in with the Jazz Messengers.

Three more volumes of the Horace Tapscott UCC concerts are now shipping according to Nimbus West. Sets from March, April and September 1979.

Right, that McLean record is really good. Is Barbara Simmons the reciter actually the same Barbara Simmons who plays trumpet on an Ed Townsend record for Casablanca? Discogs says so but I am not actually sure.

Jackie McLean “Bluesnik” Blue Note Japan 85th Anniversary cd