Stereojack

One thing I'd like to add - it's never Trane's playing that bugs me, it's usually the setting, particularly Sanders' very aggressive caterwauling. I think I understand the intention to some degree. I've always felt that they were attempting to capture the free abandon associated with the santified church and the release that it accomplishes within those who participate, either as listeners or players. Trane's playing in every period is always thoughtful and engaging, even at its most extreme, but I'd rather hear it without the distractions. This is why I like "Interstellar Space" so much. It is pure and uncluttered, yet very intense. For the record, I do like some of Sanders' other records, especially "Tauhid", "Karma", and the underrated ESP album, on which he most closely resembles Trane.

There are no wrong opinions. The sound of the electric piano in R&B (can anyone imagine Marvin Gaye's "Grapevine" without it?) is great, but I'd rather have Bill Evans, Cedar Walton and Tommy Flanagan stick to the acoustic instrument.

Well, excu-u-u-se me for my limitations! When I use the term "late Trane", I am referring specifically to the period when he added Pharoah Sanders to the band, beginning with "Meditations". The only time I saw Coltrane live was in late 1965 at the Jazz Workshop in Boston. At the time, the most recent records available featured the classic quartet ("Ascension" may have already been released, I can't remember, but that was a special record event, anyway), and we were surprised as we walked in the door and found that we were about to see the John Coltrane Sextet. Nobody was prepared for what happened that night, and I have relived that evening in my mind many times since then. When "Meditations" was released a few months later, I dutifully bought it, and I discovered that it had been recorded the week before I saw the band. Each of the subsequent releases that came in the following two years, and I valiantly kept up with them, confirmed for me (although it took years to admit it to myself) that the full-blown sonic assault of the band with Sanders just doesn't speak to me. By the time "Interstellar Space" was released many years later, I just wasn't interested, which is why it took so long for me to catch up with it. It's easy to look back and evaluate things from a historical standpoint. We have far more pieces of the puzzle (or tapestry, if you will) now, and can get a much clearer picture of Trane's development. It's easy for some people to take what seems to me to be a position of intellectual superiority, but following things in real time as they are/were happening is quite a different ball game. I now realize that to categorize "late Trane" with a broad brush stroke is oversimplification. I don't need that pointed out to me, thank you very much. I like "Expressions" and "Live at the Vanguard Again", but don't care for "Meditations", "Om", "Seattle Concert" , "Kulu Se Mama" or "Live in Japan" very much. That's just me.

Having been a Trane admirer since about 1964, by the time this came out in the 1970's, I had come to the conclusion that the later Trane, that is the post-classic quartet period, just didn't appeal to me. So I ignored this, assuming that it would be too "out" for my sensibilities. Over the years I kept hearing about this, however, and how special it was thought of by people. By the time I did catch up with it, in the 90's, I was astonished with it. It is very lucid, clear and focussed, and downright beautiful in places. It is a most inspired performance, and I wonder why it took so long for them to get this one out.

Slam Stewart Sly Stone Sammy Spear

Then you are on my list, Mike, along with: Kevin Bresnahan Jazzshrink Martyjazz Stevebop Dmitry all 3 members of Organissimo, who Kevin brought in when they were in town Michael Weiss, who I believe has been in the store Big Al (haven't figured out who you are yet, but I'm sure we've spoken)

At the end of "Bluing", recorded in 1951, Miles chastises Art Blakey for screwing up the ending.

Kenny Rogers Roy Rogers Trigger Alpert

Smith & Wesson Wesson Oil Olive Oyl

Mr. Clean Dirty Dingus McGhee Filthy McNasty

Original New York Blue Note LP's were pressed by a company named Plastilyte. The ear symbol on the runoff groove area indicates that this is a Plastilyte pressing.

Adam Ant Aunt Bee Butterfly McQueen

Johnny Board Bill Baird Bird

Blue Mitchell Mitchell Ayres Roy Ayers

Bram Stoker Bela Lugosi Christopher Lee

Jimmy Rowles was a big Wayne Shorter fan, & recorded a number of his tunes over the years. Devil's Island (Some Other Spring, BAJC, 1972) Chess Players (Paws That Refresh, CHOICE, 1974) Miyako, Tom Thumb, Tell It Like It Is, Running Brook (Pretty Eyes, PROGRESSIVE, 1976) Lester Left Town, Chess Players (The Peacocks, COLUMBIA, 1977) Mama G (Red 'n Me, ALL LIFE, 1979) This is what I could find in my collection - I'm sure there are more. One of my favorite tributes to Wayne is Shorter By Two (SUNNYSIDE, 1983) by Kirk Lightsey & Harold Danko, a whole album (11 tracks on the CD) of piano duet interpretations of Shorter tunes. Worth looking for!

Berry Oakley Okie Dokie Dooky Chase

Tony Clifton Cliff Clavin Calvin Carter

Have seen it many times, always enjoy it. It's probably the only 50's rock & roll film with name actors and high production values. "Rock pile dust is in my shoes........."

Dr. Horse Boz Scaggs Fletcher "Smack" Henderson

Shirley Horn Mickey Bass Marcy Lutes

Jimmy James Blue Flames Randy California

Bebe Neuwirth Bob Neuwirth Mary Worth

Tempo King Mr Rhythm Speed Webb

Buckshot LaFunque "Bullets" Durgom Clyde Rounds