colinmce

Farlow & NKC are sold. I can go down to $30 on the Louis. The Masters of Jazz series is OOP and is well regarded by most collectors. This is a great deal and a fine compliment to the Hot Fives & Sevens box set.

Sounds nice! I'll check it out.

How is this? As adventurous as the Bud Powell composition, or fairly straight-ahead Fifties stuff?

It's not there, curiously. I found these newly listed on JazzLoft. They should show up at Dusty Groove soon, so I will order from them to avoid waiting a month for the CDs to arrive.

Sorry if I misjudged you. You just never can tell. Personally, I have not heard this music in particular. I have McPhee's Tenor & Fallen Angels from this period and it's excellent. This is more of the same, so I expect it will also be of high quality. I am also excited to hear the Phillip Wilson date. Hopefully we'll see stuff like Jimmy Lyons' Riffs & Push/Pull, Baikida Carroll's The Spoken Word, or Steve Lacy's Ballets. Lots of interesting possibilities here.

Up with one last price drop.

If you want to be bitchy about it, be bitchy about it. I'm excited because music I can't find or afford from musicians I love is becoming available at a time when such a thing seems impossible; this is also the first time the label has reissued externally. I'm not asking you to give a shit, but I know some people here will also be pleased. To answer 7/4's question, CvsD [ http://www.corbettvsdempsey.com/ ] is a press/gallery/label who is responsible for the Atavistic Unheard Music series, as well as a couple previous reissues of unreleased early Joe McPhee and Peter Brotzmann music. Here's what they have to say about the Hat Hut series:

!!!!!!!!!!!!! Corbett vs. Dempsey has kicked off a program of early Hat Hut reissues with Joe McPhee's Variations on Blue Line & Glasses. This is incredible news!

According to Keepnews in the Complete Interplay Sessions notes, the tapes were there all along, just mislabeled and misfiled. He found them during a reorganization of the Fantasy vault. You're right! A true Overlooked/Ignored/Neglected candidate. All I have from the session is "Loose Bloos" on this 1970s twofer: P.S. Obviously things have moved on since Orrin Keepnews wrote of the "Loose Bloos" track on the 1970s twofer: "This, I'm afraid, is from a truly lost session .... things just didn't go too smoothly at this ... date, and it was put on the shelf. Later, Bill and engineer Ray Fowler began to do editing work; they put this selection into shape that Evans approved and got started on a second without stopping. They never did resume the project, and now I find that the rest of the tapes have totally vanished - leaving only "Loose Bloos" and a frustrating partial item that ends abruptly in the middle of a piano solo. My gut reaction was to get this one salvaged tune out into the world quickly, before it also disappeared." Hope I'm not getting off topic, but does anyone know how the Loose Blues album came about in view of Keepnews' comments here?

I spent a few days in NYC in 1994, that's it. I'd love to go back, though.

Hey I'm from the Midwest, whattdo I know.

My favorite little tidbit in that regard is how Dolphy trucked on down to Englewood Cliffs after recording Free Jazz to cut Far Cry that same night. Imagine.

I have been intrigued by the Solal since I read about it in Penguin but have never managed to find a copy. Big thumbs up on Loose Blues. I'll have to pull that out tomorrow. I'd love to see a Mosaic Select of Russell's Deccas. They can mostly all be had from Euro labels, but George deserves better.

I had not heard this, and it seems kind of unbelievable, given the complexity of Evans' charts. Where did you hear this? I could readily believe that he wasn't a fast reader at that point. Sidney Bechet couldn't read music, and I don't know if he knew the names of chords - he reportedly taught his musicians tunes they didn't know by running the arpeggios on his saxophone. Here's a quote from Josh Stinton of Ideal Bread: "Chronologically speaking, it's not only one of Lacy's earliest recordings, but also my earliest exposure to his playing. My father subscribed to the Franklin Mint Jazz Club when I was a kid. Every month for two years, he'd get a box of four records. One was called Saxophone Stylists. This is the one Steve Lacy tune they had on there. I used to make mixtapes for myself, and I would just drop the needle on each side of the record. My litmus test was if in 30 seconds I still wanted to hear more, that went on the mixtape. This one took about 10 seconds. At the time, he could not read music. He did the entire session by ear." He studied with Lacy for two years, so I assume he heard this from Steve himself. Like you said, though, there are gradations, so I don't necessarily take him to be completely illiterate at this point.

Steve Lacy was unable to read music in the early part of his career. It's said he played by ear on GIL EVANS + 10.

Up

There is also Buhaina's Delight, Caravan & Golden Boy But I guess since you said just two, that'd be Indestructible & Free For All. Never heard Kyoto but Ugetsu never really grabbed me.

Well, neither are McPhee, Lyons, Torme, or the others I listed. I just took the thread to mean albums you're quite fond of but that others here may not own or have heard.

1. Joe McPhee Po Music - Oleo (Hatology, 1982) One of the great jazz albums of the 1980s. Oleo is a legend for McPhee's music: Sonny Rollins, Albert Ayler, Jimmy Guiffre, Miles Davis, Ornette Coleman are all part of the fabric, filtered through a quixotic and appealing admixture of the blues and European modernism. This is one I would never want to be without. 2. Mel Tormé - Tormé (Verve, 1958) A dark, brooding record that Mel sells with absolute authority. This might also be Marty Paich's finest hour as an arranger. His treatments are dense, busy, velvet, conversational and ambitious but they never get in the way. Jack Sheldon shines in particular. 3. Andrew Cyrille / Jimmy Lyons / Jeanne Lee - Nuba (Black Saint, 1979) All of Lyons and Cyrille's duos are worth your time (Burnt Offering and Something In Return are the other two) but this is the most cohesive and focused of their collaborations. 4. Paul Bley / Evan Parker / Barre Phillips - Time Will Tell (ECM, 1994) They're taking obvious inspiration from the Jimmy Giuffre 3, but the music is most recognizable as their own. As with Out To Lunch, I can listen to this one over and over to appreciate the individual contributions of each player, but also to listen to the music as a seamless, beautiful whole; as deep listening and as soft listening. 5, Gil Mellé - Patterns in Jazz (Blue Note, 1956) Of course I would recommend the whole of The Complete Blue Note Fifties Sessions, but this is the culmination and total highlight of that work. It's been out as a JRVG and 45rpm LP, but I always thought it was a shame it was never put out as a US RVG title. I find Mellé's 50s music endlessly inventive and rewarding. Gil can spin a line with the best of them; his soloing just flows with such direction. His writing calls to mind George Russell and Teddy Charles, and I also get the same feeling from him that I do from Ornette-- maybe I'm crazy. Joe Cinderella, Eddie Bert and Oscar Pettiford are equally on-point.

^ Awesome

Yes! Hemingway's 90s Quintet was my first thought upon reading this thread. One of my favorite bands ever; I don't think they're heard enough, though of course most of their records are OOP.

There's no denying you get a certain thing from an ECM record. Sometimes it works better than others, and some artists are served better by it than others. All I'm pushing against is the idea that the label is an easy listening outfit. I know many here aren't saying that, but the sentiment is out there.

I suppose I'm in the minority here, but I think the label is on an absolute roll the last few years particularly. To me, Lee Konitz - Live At Birdland and Miroslav Vituous - Remembering Weather Report are two instant classics, both records I have listened to dozens of times. Both titles are rigorous, if not superhumanly daring, and I can say the same about a lot of music the label puts out, from Tim Berne to Roscoe Mitchell to Marilynn Crispell to Tomasz Stanko to Paul Motian to Michael Formanek to Craig Taborn. John Abercrombie's Third Quartet album is also amazing. As for the more classic "ECM" type of stuff, I can take or leave it, but I do love John Surman's work. For whatever wispier stuff the label puts out, how can you ignore a roster like this? Let's also not forget the AEC, Old & New Dreams, Marion Brown, Circle, Jack DeJohnette, Hal Russell, Paul Bley, Evan Parker, Lester Bowie, Leo Smith, Julian Priester ... I have no issues with Eicher or the label as a whole.

Was surprised to score this sealed for $10 on ebay with no contest: I'm sure you have it. I'm really enjoying it. I like Lacy best in a trio, and also love Steve Potts. Throw in "Blinks", "Stamps" and "The Throes" and I'm sold!

Glad to have caught the NPR piece. Truly one of the greats.