.:.impossible

Miles Davis Quintet .:. Nefertiti I am writing this before reading any other commentary. Sorry if there is some overlap, as I'm sure there will be! What a great recording. I have been listening to Miles Smiles almost religiously for the past couple of weeks. Nefertiti, until now, was just another neglected and shiny disc packed onto the shelves with the others, poised and ready to go. It practically jumped off the shelf and into the player as soon as I turned for it. No hesitation. Nefertiti was moving in full force before I could get situated. This is one of those albums where I have I very difficult time sitting still. I’m sent in all directions and before I know it I have too much going on and I have to prioritize. The same can be said for most all of what this Quintet recorded for Columbia. As Bob Belden observes, “The consistency of sound and approach the group attained and maintained throughout this summer of activity is amazing.” The entire body of work is of utmost quality in my mind and Nefertiti is another example of the high standard that the Quintet maintained. I am listening to the 1998 re-issue including the alternate takes. “The consistency of sound and approach” makes it very difficult to discern between master and alternate here. Like the multiple alternate takes of “Downstairs Blues Upstairs” included in the Sam Rivers Mosaic set, it is a real treat to hear Tony Williams drumming multiple takes of his composition “Hand Jive.” Miles’ trumpet remains unmuted for both recording sessions that make up this album. His sound is bold and his playing is full, unlike the trumpet that was recorded at the Plugged Nickel a few years before. The group is more cohesive than its early foundation as well. By this time, they have really developed an immediately distinctive sound that is unmistakable. Wayne Shorter. I have more respect for Wayne Shorter as a composer than just about anybody I have heard to date. Another immediately recognizable element of this recording is the handful of Wayne Shorter tunes that bookend the play order. Not to mention his improvisation and tone. Wayne Shorter the composer, I have immense respect. As a musician, the utmost. He has it all! The consistent quality of his recorded work is simply incredible to me. (I listened to Speak No Evil last weekend for the first time, over and over and over again. I don’t know how I still don’t own my own copy, but that’s another thread.) Herbie Hancock’s playing is fairly sparse for the most part. No one ever really overplays in this group for that matter. So controlled. I love the single-handed solos and I love how he will duck out during a horn solo as well. The trumpet -or- tenor, bass, drums trio sections are amazing! Ron Carter keeps the music buoyant with that largely rounded tone. His bass sounds wonderful in combination with Tony’s kit, namely Tony’s confined ride sound. The amount of tension that they are able to absorb is incredible. Incredible. An excellent album of the week. This is as sophisticated as jazz in my collection gets. I would have loved to have been living in Greenwich Village that summer, that is certain! Postscript.:. I am now listening to Sorcerer. Water Babies is next.

Thanks Tony. Does anyone here own the recent Fuel reissues (if, in fact they do exist)? I would love to upgrade on Ironman especially!

The original. No other compares!

Eric Dolphy - This Is - 2 CDs (Fuel 2000) Sept 9 Saw this on Alan's list tonight. It looks like a couple of sessions that have historically been punished by horrible sound. Does anyone know if this will be an improvement or another re-hash of the same. If I buy one more version of Ironman that sounds like this...

Who the hell chose Al for album of the week?!

Eric Dolphy Wayne Shorter John Coltrane Steve Lacy Jackie McLean Ornette Coleman all come to mind immediately. Funny they are all reeds. Of course the list goes on, but we don't want to spoil the fun now do wee?

Happy Birthday Lon! Sorry I missed it. I was down on vacation. Glad to hear you had a nice relaxing day.

Finally getting around to Dolphy, eh Dave? I knew you'd get around to him eventually. As you know, Dolphy is one of my favorite musicians in any genre. I don't own this set, though I have picked up most of the albums here and there over the last few years. If you find an affordable price, pounce. You can't go wrong.

Wow. Very cool! I can't wait. Has anyone checked out any of the live Sun Ra DVDs? I've only seen one, but the box mentions an entire set. ???

If you are ever on Treasure Cay in the Abacos and your guide is O'Donnell Macintosh, there is no doubt that you will find yourself in the flats of Crown Haven. Across from the slip (the backyard of a friend of O'Donnell's) is a cinderblock building with a pool table, a jukebox, and a bar. In that jukebox, you will find a number of very interesting selections, one of which is TB SHEETS. I believe it was the b-side to Brown Eyed Girl on this particular record. We kept feeding that jukebox quarters and the locals were eating it up! The fish weren't feeding so we decided to fill up on Kalik instead. This was 4 or 5 years ago, but I imagine the building is still there and the selection has not changed. Hey, I'd wouldn't be surprised if we were the last people to feed that jukebox quarters! TB SHEETS has a special place in my collection, but it will never sound the same again unless I am in Crown Haven. It just doesn't have that punch that it did that day. Over and over again. And LOUD! Just thought I'd drop a quick story.

That's what its all about. You'll have a real sense of accomplishment once its all said and done.

I have a good amount of experience with tile. I would not recommend that manual tile cutter. With the amount of work that you have ahead of you Jim, it is going to make more sense to purchase a wet saw than to rent one. You may be able to find a used wet saw around town. Odds are someone in your neighborhood was in the same situation as you. They aren't terribley expensive either. I have a list of supplies that are necessary for a tile job somewhere, but I'd have to dig it up. I was always forgetting something. Multiple trips to the local improvement store became a pain in the ass. Once you have completed the demolition phase, start with a chalkline. Work out the grid you will be working on. Keep the width of your grout lines in mind. This way you will know approximately what kinds of cuts you will be making. Mark the tile that needs cuts with a pencil. Are you going to be using a border of any sort? Once this is done, do a dry run. Lay out the tile without the mastik. Make your cuts one by one. You are going to have to do some trimming here an there until you get it right. Just don't cut to much! Always cut conservatively! As far as laying tile vertically, you will need to first install backer board. This serves as insulation and the mastik really adheres well. My advice is to take your time. Especially when making cuts. It can get tricky. Not all of your cuts are going to be level, straight lines. This isn't a Saturday afternoon project. Be patient. The reward is a nice, stout floor.

Absolutely. Piano makes up the majority of the disc. I can think of one tune in particular where he doubles the head on electric piano. Sometimes I find myself wishing there were more electric! Excellent disc!

Makes ME want to listen to the album, that's for sure! More good PR. Definitely won't hurt! So when are you coming to Providence?

Also featured very well against negative space on the cover of WILCO YANKEE HOTEL FOXTROT.

Thank you, fellows, for highlighting the main point of my post. Wasn't it actually Missouri? Or Los Angeles? I always get the two confused. Either way... hillbilly.

I feel like Charlie Haden is very spiritually connected to the music he is involved with. His roots go deeper than jazz, or hillbilly Arkansas, for that matter. Many of you realize that I am not as well-listened as most that post on this board, so it goes without saying that I haven't heard everything that Haden has done. I haven't even heard everything that is critically acclaimed that Haden has done. The music that I have heard, however, is that of a non-quantifiable degree. I, for one, appreciate his calm-natured approach to the bass. He isn't one to overplay his part. If anything, I find him in the details. He seems to fit into spaces that I otherwise wouldn't have noticed. In response to the notion that Haden has one solo that he always tends to revisit, I say "Listen to 'Ida Lupino' from the Montreal recording with Paul Bley and Paul Motian." This is one instance where he really creates his own space. Miles and miles of it.

Excellent press fodder! Seriously... Congratulations guys. What a compliment!

Jeff Tweedy Dannie Richmond Emperor Tomato Ketchup Dovetail

The Mingus record has been reissued at least twice in the past few years and is currently available, as far as I know. With the disclaimer that I am known for having a tendency to use the surpurlative, it's one of the greatest records of all time. Thanks Larsen! I can identify with the disclaimer. "Charles Mingus Presents Charles Mingus" IS the HOLY GRAIL OF JAZZ.

This is a beautiful world to wake up in. If you are interested in finding a transition between sleep and waking life, seek this album out. The first track, Sunrise, will ease you into your day. Absolutely beautiful.

Hey, thanks! I had forgotten about SPRING. Funny, because I was thinking about Tony and SPRING in particular this afternoon! I am not familiar with the Mingus album... hard to find? Thanks Jim. The first half of LIFETIME is a good example for this thread also! I feel a long Tony Williams binge coming on.

God how I hated/loved that one. Brings back a FLOOD of memories, for sure!!! / I've forgotten - did we ever dertermine why Chuck was such a jerk??? Any ideas???? Seems pretty obvious to me! F you Chuck.

Sonny Rollins immediately comes to mind. Thanks for the heads up on that Johnny Griffin recording. That looks very interesting! Sonny Rollins .:. Live at the Village Vanguard (1957) Sonny Rollins, Donald Bailey or Wilbur Ware, Pete LaRoca or Elvin Jones This may be as obvious, if not moreso, than the Ornette groups! Sonny Rollins .:. The Freedom Suite (1958) Sonny Rollins, Oscar Pettiford, Max Roach A new trio in the same format. First side is the ambitious suite that speaks out against the mistreatment of African-America in the late 1950s. Things really came to a head in the coming decade. Second side contains a few individualistic takes on "standards." John Coltrane with Don Cherry .:. The Avant-Garde (1960) John Coltrane, Don Cherry, Charlie Haden or Percy Heath, Ed Blackwell This probably fits in under "Ornette and Don Cherry's contributions" but I thought I'd include it anyway, as it is a unique recording in Coltrane's discography. How about Rahsaan?! He would take three non-chordal instruments and create his own chordal instrument! That is a category in and of itself! :excited I would have loved to have heard something with Wayne Shorter or Eric Dolphy without a chordal instrument. I guess the Plugged Nickel box can substitue for the Wayne Shorter when played on the right stereo! :

Is it possible that we add another "Pinned Item" to the Album of the Week forum listing the previous album of the weeks? I haven't participated in this fine tradition yet either, due mostly to the fact that I don't own most of the discs that have been featured. I'm starting to wonder what kind of "JAZZ FAN" I really am! Hey Ed, pick something in my collection!