.:.impossible

What is this lost quintet stuff?!

I knew it wasn't a joke. Just making a face is all Chuck! SEE?

This was the first of Shorter's music outside of Miles' quintet that I ever heard. My brother gave me a copy for my birthday years ago. In college, I met an alto player named Benny Hill who lived in the projects about ten blocks from where I lived in Wilmington, NC. He would come over and we'd drink and shoot the shit and listen to music. He was always bringing up Kenny Garrett (Triology) and Dexter Gordon. Of course he was a Bird fan too. I would show him what I was listening to at the time and he'd always say something like, "You like all them underdogs. That's cool." I asked if he was a fan of Wayne Shorter. He knew Footprints (fakebook) so I played this disc for him, Adam's Apple, and he left me six Dexter Gordon CDs in exchange for it. He has since moved out of his mom's place on Princess and is studying for his masters in music somewhere in the midwest. I just patched that hole in my collection again with the RVG. Brought back some good memories. 502 Blues is such a great tune! This album I have a soft spot for.

Ahhh-yesa! This is the only organ/guitar/vibes/drums album I own. I love the palette and the textures! Downtempo, I wish the vibes were higher up in the mix.

I'll play. Horace Silver .:. IN PURSUIT OF THE 27TH MAN I don't have much Silver, and I don't really know why I bought this, but I sold it before the 24th hour! Lee Morgan .:. DELIGHTFULEE I still have this because a lot of people seem to like it. I don't know what to do with it. I'm not listening to it, but I'm not ready to get rid of it yet either. What's with the Lennon/McCartney arrangement? McCoy Tyner .:. THE REAL McCOY I listened to this a few weeks ago. It never sounds good to me. None of it. I'm not so sure that I dig Tyner's concept... with Coltrane it seems to be a different story altogether. Stanley Turrentine .:. COMMON TOUCH Whoa. I really wasn't ready for that.

First impressions of Faux-Jumeaux. This is a really cool disc. Some of the classical ears may not dig it as much as a novice like myself, knowing more about the influences of this music than I do. Then again, I've never been too involved with the genre-identification thing anyway. I am a huge fan of the tones brought out of the vibraphone and the relationship between the vibraphone and other instruments. This is a wonderful exploration of these relationships, along with an exploration in a sort of Burroughs/Gysin THE THIRD MIND musical approach. During playback, the composer has experimented with sampling the actual recording, blending sequences in with the original recording. Sometimes what would be best described as a "dub" effect, though this music has nothing to do with its reggae counterpart, the sampling and sequencing adds even more depth to solid, mobile compositions. It is amazing that the composer was, and still is actually, in his early twenties! He has included some "field recordings" as well. Footsteps, insects, etc. My wife walked during one composition and exclaimed "HAUNTED HOUSE MUSIC!" Why is it that so much of the creative music in my collection can fit in this category? Other than one of the compositions, the rest of the disc is hardly "haunted house music." It is quite beautiful in fact. Definitely recommended. If not Pierre-Yves Mace's debut, I do recommend that you keep an ear out for future releases. In the same delivery, I recieved Walt Dickerson/Sun Ra VISIONS. I am in vibes heaven.

No shit! That really would have been something! Slightly on-topic, have the tapes with Wes Montgomery and the Quartet surfaced anywhere? I am very curious to hear what that was like. Wes seems an unlikely candidate to me, but I may be wrong.

Congrats David. Very handsome. I admit, I did catch a bit of the Access Hollywood piece, so I have probably seen most of the much anticipated photos already, including some EXCLUSIVE Access Hollywood footage. Free For All, you had me laugh out loud there! Nice jab.

I think Black Monday from ANDREW! could definitely come into its own as a modern standard. I nominate Black Monday be included in your Best of collection. My second recommendation will be Ghetto Lights from the Bobby Hutcherson album DIALOGUE. Both are great examples of an Andrew Hill composition with a memorable head. I will have to dig into the CD shelves for more recommendations. For now, off the top of my head, these two I nominate. P.S. I'm sure we can come up with a better cover than these Time Life Series!

I like the "October Listening" type of thread for the reasons that Ed mentions. I just think it is silly to have both. What you just listened to is still a part of October Listening. I always listed the disc that I was currently listening to when posting in the monthly thread. Anyway, I was just goofing around.

Good ones! I'm thinking we might be able to extend this idea outside of music even. One thread: October Heart Rates And the companion: What is your heart rate right now?

Is it just me, or does anyone else think it is silly to have an "October Listening" thread and a "What Are You Listening To Right Now?" thread? Just had to say something... please, carry on.

I can't remember. Whatever it was, it had a slipcover that is now long gone.

I still haven't picked up Jason Moran MODERNISTIC because it is always in the $18.99 price range! BANDWAGON was not. I don't understand...

I'm glad to see so much interest in this recording. We all have a little over a month before discussion officially begins. I'm anticipating a fairly thoughtful discussion with some added insight from those active in the recent "Chicago scene" thread. Hopefully, a few members unfamiliar with this music will make the dive and provide a fresh viewpoint as well!

I have been chosen by Jacknife for AOW November 9-15. I want to give everyone plenty of time to locate their copy of this album. For those who do not own a copy, this album is in-print as part of the NESSA catalog. We all know where to find a copy I believe! I'm really looking forward to discussing this music with y'all and thank Jacknife for putting me on the list. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. AIR Air Time Nessa ncd-12 Recorded November 17 and 18, 1977 Produced by Chuck Nessa Henry Threadgill (alto saxophone, tenor saxophone, flute, bass flute, hubkaphone) Fred Hopkins (bass) Steve McCall (percussion) .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. edit: added image

I am going to order this. I will let everyone know what I think of it. From AMG, Thom Yurek: Pierre Yves-Mace is a remarkably young (born in 1980) French composer. Faux-Jumeaux is his first release, though he has been on the scene for sometime as pro-rock improviser, and as the composer of many works for theater and film. All of Mace's works are for small ensembles that employ myriad percussion instruments -- vibes, cymbals, gongs, chimes, etc., as well as harp, flute, saxophones, and pianos. The first offering here, "Evocation," is based on the notion of distorting acoustics sounds that, by their very nature, are distorted anyway. Here a harp floats above a trio of gongs and chimes, bells and vibes before being run through a sampler and mirrored back on themselves in sometimes actual,, sometimes random, sequence. The dynamic range is spectacular in that as the more structurally beautiful sounds interact with the sampler, they can explode into fits of near chaos, but never become harsh or cold. On "Defense de Voir Au-dedans," Mace employs a cello to very gradually ease the work in, lulling the listener into its spare but rich tapestry of colors; three-fourths of the way through, a rupture happens, boring out the cello's heretofore necessary appearance and replacing it with dissonance, fragments of structure, and seemingly free improvisation. The piece picks its way through again and changes with the help of the marimba, flute, and piano, and moves into the margins once more, where sound and silence entwine, adroitly offering space, texture, and serenity, despite the tag ends of each measure. This is a very auspicious debut by somebody who knows what it is he wants and pleases us to no end.

Some great recommendations coming to the surface on this thread. Thanks for the info Late. I am a huge fan of GHOST OF ELECTRICITY. I will have to check out WHAT COMES BEFORE. Thank you for the follow-up. I have to ask, as this one has been on my mind for some time. Does anyone have any opinion on: Pierre-Yves Mace: Faux-Jumeaux Herve Trovel: marimba Valerie Kajelnikov: harp Ingrid Kuntzmann: cello Pierre-Yves Mace: vibraphone, samples, piano, treatments, glockenspiel, marimbas Luc Leroy: cymbals, gongs, bells, chimes, vibraphone, marimba Yann Mace: cymbals, gongs, bells, chimes, marimba editing Arthur Gordon: cymbals, gongs, bells, chimes Sylvain Kassap: clarinets, soprano saxophone, bass clarinet Dan Warburton: piano Stephanie Chatet: flute From TZADIK: Four startling studio compositions by an extraordinary young French composer. Born in 1980, Pierre Yves-Macé began as an improviser, played in jazz-rock prog bands, studied classically, accompanied dance classes and has composed electronic music for theater, dance and the martial arts. Faux-Jumeaux, his first CD release, brings the aesthetics of French romanticism into a head-on collision with sampling technology, electro-acoustics and minimalism. A lyrical, adventurous mix of styles and sounds, this is an astounding debut recording by a strange and wonderful new musical mind. Sounds interesting!

Man, that is a creepy story Agent. Do you live in a small town? I am having trouble imagining the scenario without thinking the guy was a creep!

I could have sworn I posted on either/both of this threads... does anyone else notice posts go missing here and there?

Here 'tis: Elmo Hope

His duets with Anthony Braxton are not to be missed either Dave. I prefer Birth & Rebirth by a hair. BIRTH & REBIRTH 1978 CD Black Saint120024 ONE IN TWO, TWO IN ONE live recording, 1979 CD hatHUT6030

Seven over Eight, your avatar looks like a Tzadik cover. Which album is that? Nathan also used to recommend to me ERIK FRIEDLANDER GRAINS OF PARADISE. I still haven't picked it up! He was also a fan of JAMIE SAFT. SOVLANUT and BREADCRUMB SINS Late, How would you compare Ben Goldgerg: What Comes Before with JUNK GENIUS GHOST OF ELECTRICITY? Nathan turned me onto some great music, that's for sure!

I'm with Lon. Well, not really. I'm miles away from him actually, but I do use Aveeno. I've used the same Gillette Sensor handle since my high school days. I shave my face every other day, my neck once a day and go through one blade a week. Follow-up with Aveda after-shave. No sting. BTW, I think I'm allergic to every other shaving cream in the world except Aveeno. That stuff is mild baby!