tkeith

I'm amazed he didn't claim she'd paused only once to reload. Don't worry about the sentence; in the people's republic of Massachusetts, that sort of thing usually gets addressed on its own behind the bars (see the story of Father Paul Gauguin). Nearly as uplifting is the story of the two maggots who admitted killing a 6-year-old boy and raping his corpse before dumping it in a river. Some of the guards for MCI were calling into a local sports radio show (Dennis & Callahan) with specific reports of the treatment these two academy award winners were receiving courtesy of their fellow inmates. When the state shirks its responsibilities of punishment, those within that same system have a tendency to handle the issue admirably.

After trying to watch some of his later HBO specials I sort of feel the same way. I think he started to take himself too damn seriously and stopped being funny in order to play the role of some kind of "courageous" truth teller. Most self-conscience truth tellers are usually bores as are the people who cheer them on. And that, friends, is what we call irony. How so? Yes, I'm also interested to hear this one explained. Eeesh... here we go. It's simple, I, obviously, do not agree with the initial post and felt it was in questionable taste. The follow up post supporting that post makes the statement, "Most self-conscience truth tellers are usually bores as are the people who cheer them on." I felt (and feel) you were the pot calling the kettle black. Not trying to start a flame war, but you asked.

He's half right.

I'd be willing, but I'm pretty far down the list. Question -- does one need to give up their spot if they 'step up'? Also, I'll be out of contact traveling for next few days, but I'm ready at the drop of a hat.

Great list, Paul. I'd add one, but frankly, you've done an amazing job and I'm not sure what I could bring to the table. Great ears!

After trying to watch some of his later HBO specials I sort of feel the same way. I think he started to take himself too damn seriously and stopped being funny in order to play the role of some kind of "courageous" truth teller. Most self-conscience truth tellers are usually bores as are the people who cheer them on. And that, friends, is what we call irony.

Shepp does it very quickly at the end of the last tune on Montreaux I as a set closer, that's where I knew it from. Listening to the Jazztet's version as I type. Man, Golson is a bad man.

Desktop: My wife in leather pants and halter vest. Laptop: Rotating photos of Mini Coopers. Sometimes I use the stock Mac images, others I have sports (Coco Crisp's fight, Eric Hinske cleaning out Jorge Posada, etc.), and prior to the great HDD crash of '08, I had rotating images of saxophones.

No. It was the horn player's sound... just reminded me of Charles Neville.

Wow... screwed the pooch on that one.

Haven't read yet; just finished listening. This one reamed me. Track 01 -- LIked the intro pre-piano loads. The piano and soprano took getting used to but I really like this. Very upbeat... not so much happy as optimistic -- like Abdullah Ibrahim. Not in love with the soprano... I'd say he's a doubler who doesn't play much soprano. This has the feel of an early 80's Charles Lloyd date, but with an influx of Bobby Sanabria, though I think it's just shy of both in terms of technical facility. I'm stumped, but I like it a lot. The heavy vibrato on the soprano in the out-chorus makes me think it may be Byard Lancaster. Track 02 -- Hmmm. Not sure *how* I feel about this one. Part of it borders on goofy, but part of it keeps me wanting to hear more (the way Charles Earland does, but I don't think it's him). I recognize the alto... but can't place him. A touch of Criss, a touch of somebody else... maybe Red Holloway? Almost sounds like Jimmy Heath playing alto, in terms of phrasing. No idea on the guitarist... my ear wanted to hear Grant Green after the alto solo, but it didn't get it. Love the tenor sound. Buddy Tate? Seems a bit too methodical to be Tate... damn it! Nice job on this bft so far! I'm leaning Hank Marr on organ, but I'm probably full of shit. Guess I stick with Holloway and say he's playing both horns. Track 03 -- I'll say that's Yusef. I like the feel of this... sort of a mix of the first two tunes. Maybe Horace Parlan on piano? No idea who the guitarist is. Track 04 -- I think you're throwing us a curveball here. The pianist had a nice, Monk-ish feel in the beginning, but then the chords had a Cedar Walton touch, so I'm leaning Kenny Barron, but it almost seems to be too flashy for Kenny. Bass clari player has me stumped... very deliberate, so much so that it seems like he's playing simply, with intent. Am I nuts or is this an *old* Ellington tune? Completely stumped -- damn you!!! ** totally unrelated gratuitous plug** -- just because there is a bass clarinet in this tune. If you're ever in the Montreal area, check out Mathieu Belanger -- guy is friggin' phenomenal! Track 05 -- Hehe... that 60s guitar sound... I just can't get enough! Guy was friggin' brilliant. Track 06 -- I don' t know who this is, but he's my fucking hero. Shades of George Adams, but nastier. Hints of Albert, but more inside. Tone has that raspy quality of late 70's Rollins or Fela, but it's too rock-ish for either. Could it be Dr. Charles Neville? Sounds like Vinny Colliuta on drums, but more of a nutcase, which has me all effed up. Rock organ is rubbing because of my purist roots, but still, this is a fun date. Shot in the dark, I'll say The Neville Brothers. Track 07 -- Hate the sound of the drums, right off the bat. It's fun, but I wouldn't spend much time with it. I like it better than the Adderley brothers' take on the Zodiac. On the whole, this was a fun one -- good pick-me-up for a rainy Sunday.

Always good to hear about Shepp! Thanks! What a great piece! I'd heard about this in the past, but this is outstanding. This guy is one of my heroes and the fact that he was run out of this country/culture is a fucking travesty.

The thread does not have "jazz" in the title! Alan Dawson? I'm a fan. I like him more than I like Booker, to be honest. He was imaginative and interactive. Taught Tony Williams a lot. . . . You're right, Jazz is not in the title (unless you count where it says JAZZ DISCUSSION FORUM in the upper left). Of course, "What drummer are you a fan of?" and "Who's a great drum teacher?" are also not in the title. Dawson was a great teacher, and to my ear, a boring drummer.

Ramen!

How many would dare admit?

Gadd came to mind, but then, I don't think of him as a "Jazz" drummer, and the list of non-Jazz drummers I detest would be too long. Buddy Rich would have to be on the short list, as would Alan Dawson. AD can actually ruin Booker Ervin for me at times.

It's great, but I think Sense of Direction is desert island material. Peace, Tell Us, This Is, TMQ are all worthy of consideration, as well. Hell, they're all great -- guy was a beautiful person and it just flowed out of him (much like William Parker).

Alright, goddamnit, that's *TWICE* now, Allen! :bwallace2: how is *that* not offensive! :rsmile: :rsmile: :rsmile: (it's okay, I'm kidding... now where'd I put my can of beer?)

No offense taken, Allen. But NH is seriously, MUCH worse than Maine. Maine at least has folks like Ken Eisen, and the whole thing happening up in Blue Hill. NH is so parochial and corrupt within it's arts community, I think their idea of cultural film would be an Ozzie & Harriet marathon.

Thanks.

In a word, the sound sucks. I have medium grade equipment from an audiophile's perspective, higher end for a typical listener, though dated (family dying off has built my system). The sound of the CIMP discs is flat and ugly. I understand what they're trying to do, I'm not convinced about the execution.

In the late 70's my father wrote Walt a letter explaining what his (Walt's) music had meant to him (my father). My Dad went to a friend's house for a listening party, something he rarely ever did. While he was gone, the phone rang and I answered it: "Hi. Is Jo there?" "No, he's at his friend's house." My mother, "Is that Dad?" "No, it's Walt Dickerson." My mother figured we were being played by the folks at the party. She rolled her eyes and said, "Give me the phone. [taking the phone] Is this Bob?" "Uh, no ma'am, this is Walt Dickerson. I'm calling for Jo." "Knock it off, you guys, this isn't funny." "Uhm... ma'am? My name is Walt Dickerson, I'm a musician; Jo wrote me a letter and I just wanted to call and say thanks." He finally convinced her and she gave him the number of the friend's house. My father had offered to take Walt out to dinner if he were ever in our area and he was going to be playing in the basement of a church in Worcester, MA. Walt was calling to accept the offer and express his thanks for the letter. At the listening party -- where, in a blindfold test, my Dad identified Arne Domnérus -- the phone rang. The owner picked up the phone: "Hello?" "Hi. This is Walt Dickerson, can I speak to Jo?" "Uh... yeah, hang on. [phone covered] Jo, it's Walt Dickerson for you." "What?" "Yeah. [holding out the phone]" Made quite an impression on the attendees. They went to see Walt and took he and his wife out to dinner afterward. I've never had the conversation with him about what they talked about... perhaps I should soon. That's my long-winded way of saying, this one hurts.

It's a tie: Billy Mitchell, J & B from THIS IS BILLY MITCHELL. William Parker, LAND SONG from CORN MEAL DANCE. Honorable mention to Mark Shim, OVEIDA from MIND OVER MATTER. If not for the horrendous guitar, that would've been *the* track.

I figure on getting none of these, but here goes. 1. First impressions -- nice sound, very clean. Rhythmically, this guy bugs me. He's got lots of technique, but sounds as though he's chasing the rhythm at times. 2. Bag's Groove (though probably called something different). Tenor player has listened to a lot of Rollins, but I don't think it's him. I'm stumped, though all but the guitarist sound familiar. I'll throw out a guess of Connie Kaye on drums. 3. Guitarist has a very thin sound. No idea. 4. No idea. Something about this guitarist doesn't sit with me. He's playing a ballad the way James Carter might on tenor. He's got too much attack for the song. 5. Interesting tune. Sounds like something John Tchicai would write (the "A" section). No idea who this is, but I like it. Has the technique of the earlier tunes, but his time is spot-on. 6. This sounds like the same guitarist as #4 to me. Similar approach. He's playing busier than the tune calls for. 7. Crime Jazz! No idea on the guitarist. Sounds like a splice at the end of the guitar solo. Recognize the tenor, but can't say for certain. At times I'm thinking Billy Mitchell and times I'm thinking Ike Quebec, which suggests it's neither. Another splice at the end of the tenor solo. 8. No clue, but has the feel of a Norman Granz date to me. 9. Stompin' At The Savoy. Not someone I'm familiar with. 10. This sounds like a Vince Guiraldi thing to me. No idea who the players are, though. The tune sounds like a Steve Allen tune, I think. Something like Get Me To The Church On Time, but I don't think that's it. 11. Stumped. 12. Sounds like Zoot to me, except the tone doesn't seem quite warm enough. That could make it Scot Hamilton, but the recording sounds older than that. No idea on the guitarist. No idea on the vibes. 13. I want the vocals to work, but... I dunno... just didn't get me. Tune is Don't Blame Me, I think. Scat rarely tickles me... this is not an exception. 14. This grooves. The tempo is pushing the guitar on the improv, though. The organist sounds more modern, but the drums sound like an older recording. Got me. 15. Interesting interplay between the horn and the guitar. No idea who the guitarist is. I'm not sure of the bari, but he may be a doubler. Weird date... sounds like a crossover of Mulligan and Tristano. 16. I like the way the melody line is shared by the guitar and the bass. No clue who they are, though. 17. This is nice, very relaxed, but the recording has issues -- piano sounds like he's in the next room. Could be a sound stage recording even. No clue as to who. 18. Modern players. The organist knows his Larry Young. Drums seem... I dunno... there's something awkward... the kicks seem too busy. Sounds like maybe Ronnie Cuber or Gary Smulyan on bari. Got that post-Brignola bite to it. These players all sound more out of the University system than the bar system. That's not a criticism, just an observation to support my guess at the date. They also seem like they might be more blues oriented players -- less bebop licks and more blues licks used in the solos. 19. Lush Life. This is a tune that really lives by it's lyrics. I mean, it's tough to play it without thinking/hearing the lyrics. On the intro, I couldn't really hear the lyrics in the way it was being played. Unsure of the players, but it's an older recording. 20. No idea. It reminds me of Wednesday afternoons at my grandparents house when I was a kid. They always had the radio on playing something like this (which was only problematic because they had a record collection chock full of Basie, LHR, Illinois Jacquet and the like). Nice, but very back-groundish. As predicted, this kicked my ass. Thanks for making me listen outside of my comfort zone.

5. Autumn In New York. Masons are at lunch, but the quiet didn't really help. I'll stick with Les Spann and throw in the towel otherwise. 6. Getz. I'll say Jim McNeely on piano, but I'm far from certain. Maybe Al Foster on drums. No idea on the bassist (damned laptop speakers). I like the tune, but I'm not sure what it is. 7. Well, it's not one of the three or four violinists I know, that's for sure. I know the song, but not by title. Is it I Can't Get Started? I must still be punchy from the boat, because this sounds like Jim McNeely to me, too. In spite of being on my list of songs too often played, this is a nice version. 8. Gonsalves is one of the tenors. He's a bad man. Sounds like Paul playing off of Paul. This is fucked up... I may have to get the phones out for this one. That's Stitt, for sure -- nobody plays like that. Oh, this is gonna be fun. I've heard about this record, but I don't own it. Man... Paul acquits himself well, here. I'm going out on a limb and guessing my man Jimmy Jones on piano. That's Sam Woodyard on drums. I'm betting if I could hear the bass it'd sound a lot like Jimmy Woode. 9. Parker's Mood. No idea of the violinist other than I don't know him (or her?). Is this the same record as the other one? The sound is a bit different, but maybe the same band. Nice bass sound. Drummer reminds me of Idris Muhammad but the genre is all wrong. It's possible that this is one of those Gene Harris dates for Concord. Just not sure. 10. Clark Terry. Great tune! Duke Jordan, right? Bup baaah duh... yeah... shit... what's the name of this? A punk band named Bow-wow-wow stole that bridge for a tune called APHRODISIAC. Sounds like Kenny Clark on drums to me. Tenor sounds like a mix of Gonsalves and Golson... could be Scot Hamilton on a great day. Firey, though, that's for sure. [second listen] shit... I know this guy. Naw... that's not Hamilton. [third listen] Yusef? Almost seems too busy to be Yusef, but every bit as ballsy. I'll go Yusef. Those chords... that sounds like Tommy Flanagan's comping to me. This one is going to hurt my ass worse than all the stumps in this test, but I'm going to pull out Ed Shaunessey on drums. I have a Music Minus One set with him, and this sounds exACTly like that. AH!!!! No Problem!!! That's the tune. Given the flute on the outro, I'll say Yusef with confidence. 11. Oh Jesus... clarinet... I'm only slightly worse at picking those out than flute. Tune sounds reminiscent of Bill Evans' Peace Piece. Or not... The Summer Knows. Strange soprano sound -- clearly a doubler. Some real struggles with intonation. I don't want to make enemies, but sounds like Stitt on his worst day, playing soprano. With that strange articulation, could be Shorter. This one just isn't reaching me. The recording sounds too modern, but the sound of the soprano reminds me a lot of a Lucky Thompson record I have. Love Lucky on tenor, but on soprano, not-so-much. 12. Pepper! Zoot! This is from Encounter. Inanout is the tune. Tommy Flanagan, Ron Carter, Elvin Jones. This is a GREAT record! It's amazing how well Zoot fits into this mix. Another bad man. 13. Night In Tunisia. Clean recording. Not sure of the organ, but it sounds like Vernell Fournier on drums. Guitar player doesn't strike me as someone I know. Organist seems like more of a Jazz guy than a Blues guy to my ear. Drum break sounds too flashy to be Vernell. It's got that Louisiana marching sound... could be Kenny Clark. 14. All The Things You Are. Nice job picking obscure versions of these tunes. There in the repertoire that I named "The Rusty Razor Song Book," thus getting me into a lot of trouble with a number of musicians. Nobody denies that they're great tunes, but do we *really* need musicians creating more versions of them in the 21st Century? Most of these composers have a number of great tunes - - several not covered by others. But I digress. This is older. Whomever it is, he has Newborn-esque chops. It's not Phineas, though. Not sure. ~note~ Evidently, masons tend to take long lunches.