colinmce

OK, thanks for the info. It makes perfect sense, but I guess I've just never heard that, certainly not by way of explanation re: Coltrane.

One thing that has always bugged and confused me is the doggedly common suggestion that Coltrane's terminal cancer was directly related to his drug and alcohol problems, problems that he kicked ten full years before his death. For the life of me I can never recall ever having heard a correlation between hard drug use and cancer, yet in most accounts of Coltrane's illness this link is made. There's a way in which dubious myths get passed on from one person to the next in jazz writing and this seems to be one of the more persistent of them. And it bothers me. Perhaps such a correlation does exist-- though when it comes to cancer, what link can't you make? But even so it seems odd that this is so accepted as a fact. I can't help but detect some shred of .... something. I don't necessarily want to say racism, but it just seems off. Thoughts?

Amazon has a 10/21 date.

It turns up in Kahil El'Zabar's music from time to time.

Seconded. The arrangements are pretty straightforwardly modern jazz/60s inside-outside (though Wooley is a far-above average melodist) but the soloing from both Wooley & Sinton is out of this world. "Shanda Lea 1", the short solo that opens (Put Your) Hands Together, is a truly seminal performance IMO. The convergence of technique and melody, heart and mind, heard in that piece is the kind of thing that certifies the man's brilliance.

Quite under-recognized music on this one. IMO one of the essential LPs from that time & place. (all this stuff is also on the expanded CD edition of the orignal New Wave of Jazz LP)

I hope not. I have to say I'm impressed they (she? Is it mostly Hazel Miller?) are putting stuff out still so consistently. The packaging on the newer titles is A+ to boot. I look forward to more, hopefully a reissue of the Harry Miller box.

Oh hell yeah. It's an awesome record. The 32jazz edition with the ridiculous 90s packaging is easy to find.

Was there ever a Japanese CD? My 32jazz issue makes my soul hurt.

Chicago has been flush with Cecil Taylor FMPs lately. I've had good luck swooping them up!

Yep. Side two of Components!

I got mine on Monday too.

The last time I listened to Compulsion! it kind of blew my mind. I didn't love it in the past but it sounded damn good. There was one little stretch that if heard in isolation could've easily passed as Brotzmann/Van Hove/Bennink ca. 1974. Much less cluttered and way more far out than I remembered.

That's my only point. This is why it's incredibly frustrating to try and make a point on the internet: either/or, if-this-then-that thinking. I said outright I like Jason Moran's music. I said this is not about him, but about press coverage, NPR in particular. I think Jason Moran is a very original player who's original music is very strong. And I bet this Fats Waller thing is just fine in its own way even if it's not my thing. What I'm saying is that projects like this are what gets the attention, not plain old music. Let's take Dave Douglas as an example, one of NPR's golden boys (again FYI, I think Dave Douglas is phenomenal). His album Be Still, which featured a vocalist, a hook about Celtic songs, and a backstory about Douglas' family got plenty of attention. His new project with Uri Cane which has some other sort of conceit about old song forms or whatever: also lavished with attention by NPR. The one in-between, a plain old book of music for his new quintet: not so interested all of a sudden. That's all I'm trying to get at here.

:tup :tup :tup

We'll see! I'm going to check the record out. I like her, but don't cotton to piano trios very much, so...

Huh. I haven't yet heard the new trio, but the reviewer at Point of Departure said the opposite: that Gress & Wolleson knew the music inside & out. FWIW, though, I've never been a big fan of Gress' playing. Don't know Wolleson.

The Oto disc is nice though the track listing switches the Quintet and the Sextet. I also want to hear the Matchless date. I bought Joe Maneri/Peter Dolger - Peace Concert

As to the second point, probably not, but how can we say? As to the first, again, this is not an avant garde vs. mainstream thing. Josh Berman, Keefe Jackson, or Mike Reed are not working in strictly avant garde contexts. Neither is Sylvie Courvoisier, nor Tarbaby or Trio 3, nor Nicole Mitchell, Steve Lehman, Tony Malaby, Angelica Sanchez, Wadada Leo Smith, Dennis Gonzalez, Harris Eisenstadt ... It's a question of accurately representing the landscape of modern jazz. If you like the new Dave Douglas & Uri Cane record, there's nothing that would scare you away from anyone I listed above. There's no reason to ignore what's actually happening.

This just feels like a "straw-that-broke-the-camel's-back" situation for me, and I guess it's just a accident that it's localized around a Jason Moran record. I have no beef with him (or, uh, ECM, Craig Taborn, or David Vierelles for that matter). I know his interest in the music of Fats Waller goes back a long time, and he's a true scholar. I'm sure the record is just fine, and certainly much better than it would've been if made by someone else. But this NPR bullshit? Fuck it. Fuck them. They couldn't kill the music faster if they tried. Or should I say "Music". Because how can it possibly be worth your time and attention without the ever-precious angle? Who is this a tribute to? What non-jazz personality is "collaborating"? How, oh how will we connect it to the past? Or what fusion brings in the "present"? OK, we'll skip the conceits if it's an octegenarian, that's hook enough... And then there's the closed loop aspect: Newport, Dee Dee Bridgewater, Wynton, Piano Jazz... And the quotas: singers, latin jazz, and cultural fusion... Anything in the WORLD to avoid dealing with people engaged in the stultifying act of writing and performing new music in and of the present moment. It might be hard to believe I'm not just on some pro-avant garde crusade, but I think people confuse AG with contemporary jazz more often than not. A free improvisation from Mark Sanders, John Edwards, and John Tilbury is worlds away from the new Sylvie Courvosier trio, or even Anti-House, or Sun Rooms. So I'm not simply saying mainstream outlets should feature more avant garde jazz (though let it be said that public radio in Europe has been a primary outlet for that music for over 40 years). All I want to know is what they think is wrong with plain old original music? Why is that so bad? And to go back to my "more harm than good" assertion: jazz gets little to no attention anywhere else. Not in independent music media (a whole other thing I will post about another time), not on TV, not in what little entertainment print is left. NPR is failing the music as well as the audience by presenting jazz this way. No wonder people think it's a dead music. Sorry to derail the thread.

I don't want to be snarky about this but ... it's just irritating. Just is. No shit this is on Blue Note, and big surprise it's streaming on NPR. I woke up cranky, but really, this is dumb. I'm not too sure what's 'dumb'. My post? The concept of Moran, Meshell and Bandwagon together? The concept of the album or the music itself. It's on Blue Note because Moran's been signed to them for a couple of album's worth already As soon as I heard it I thought this would create strong reactions - the groove and the musical style seems to do so especially amongst keepers of the Jazz flame (not referring to colinmce here). I'd expected comments about 'popularism' and maybe comparisons to Glasper's recent work. I like what Moran does and i like what Ndgeocello does (most of the time) so I'm hanging in. I'll be giving it some more listens not least because like Xybert I tend to find longer listening to Moran pays dividends. Rest assured, it's not your post. I'll explain my feelings in a bit...

I did not understand a word of that.

I don't want to be snarky about this but ... it's just irritating. Just is. No shit this is on Blue Note, and big surprise it's streaming on NPR. I woke up cranky, but really, this is dumb.

A few ebay deals: Bill Dixon - Collection (Cadence) $7.66 Muhal Richard Abrams/George Lewis/Fred Anderson - SoundDance (Pi) $6.99 Pharoah Sanders - In The Beginning (ESP) $11.99

Arrangements aside, Chris Connor's voice is what matters. If they can put out that Buddy Hackett, this wouldn't be a stretch. I wish they would...