colinmce

Stumbled on this from the Braxton listserv: I placed and order and look forward to hearing it. I love solo bass.

Re: OTL yes yes yes. There is really nothing else like it and a lot of times I think that makes it hard for people to deal with. Dolphy holds a special place for me. Out To Lunch was one of the very first jazz records I bought seriously. I had a small few: A Love Supreme, Mingus 5, Brilliant Corners, Ornette! but I never really heard those albums, just listened to them. When I put on Out To Lunch I really knew what it meant to hear music completely. It's just an endlessly satisfying date to me, on everyone's part, and opened my eyes and ears up wide. In fact, I think I can honestly say it helped me to listen to jazz in a way that might have taken months or even years longer listening to other things. You can spend each sitting with it listening to just one player and be held rapt. In fact, I'm usually so enraptured by Williams, Hutcherson and Davis that I forget to listen to the horns. The rhythm on this date is truly something to be reckoned with. I followed Dolphy's sideman work to Blues & The Abtract Truth, The Quest, and Ezz-Thetics; the later two certainly contain my favorite playing by him by far. A lot of critics centralize his activity around Mingus and Coltrane but I never think of him that way, probably because these are not the records I first focused on. I like his playing with Coltrane, but don't find it to be central to his legacy-- possibly even marginal. Mingus is a whole other story, of course, but I still always find myself coming back to his Prestige albums more than anything else. It's been my contention that had Little and Dolphy lived, and had the Five Spot group recorded together for another five years or so, they'd have been as influential as Miles' Quintet on the direction of the music. But, given Out to Lunch, who's to say what direction he was headed in ...

Ironically, they kind of ceased to make sense when they abandoned the print catalogue and expanded their inventory online. The catalogue was a wonderfully curated thing and turned me on to many fine recordings.

iirc, Cavett talked to him as described above. I think he was removed from the Tonight Show, but I don't quite remember. I'm not seeing much info online, but this is discussed at length in Wilmer's As Serious As Your Life.

Thanks, I'll give that a shot.

Agreed, kh1958. Ornette! especially. I enjoyed his work on Braxton's Six Compositions (Quartet) 1982 the other day. I wish he and Braxton were able to lay down a duo.

I'm looking for the following titles if anybody has them and is looking to unload. I've marked what I'm offering for each title after the listing. hat ART 6199 John Law - Extremely Quartet ($15) hatOLOGY 503 Dunmall/Adams/Sanders - Ghostly Thoughts ($12) hatOLOGY 507 Bennik/Melford - Eleven Ghosts ($12) hatOLOGY 509 Leandre/Leimgruber/Hauser - No Try No Fail ($12) hatOLOGY 2-535 Misha Mengelberg - Two Days In Chicago ($25) I am also always looking for these 6000 series titles. PM with an offer if you're interested I'm selling: Anthony Braxton/George Lewis - Donaueschingen (Duo) 1976 Anthony Braxton/Richard Teitelbaum - Open Aspects '82 Anthony Braxton - Wesleyan (12 altosolos) 1992 Anthony Braxton - Two Compositions (Ensemble) 1989/1991 Anthony Braxton - Eight (+3) Tristano Compositions (For Warne Marsh) Joe McPhee - Topology Gerry Hemingway Quartet - Down to the Wire any Franz Koglmann titles in the 6000 series

Hm, that Don Patterson looks nice. I will admit this: I do not go classy when it comes to the Christmas tunes. At all. In my mind, all bets are off as far as the cheese is concerned. The Bing Crosby is a favorite, of course. But, um, that's about as nice as it gets. I have a soft spot for Christmas muzak, so we listen to a lot of cheapo synthesizer stuff, and some generic choral/orchestral things. Also, Mannheim Steamroller and ... yes, OK, Kenny G's Miracles. What can I say, the man has a nice tone ...

PM on Evan Paker - Snake Decides Evan Parker - Lines Burnt in Light ICP - Oh My Dog

The JSP is good and all and probably worth having but like jazzbo said, the complete Savoy/Dial box is what you want.

You know, I haven't listened in a long while and need to change that, but some of the very last recorded Bird sounded, to me, as if he were entering into a new territory not unlike the sounds on those Parkeranias, and sounding as if he were taking step towars a Colemanesque set of ideas and structure. Ornette said that he felt as though Charlie Parker would have liked the Quartet's music and I wholly agree. I always wonder how different Ornette's reception in 1959 might have been with Bird's blessing.

Great choice! It's a stunning album.

I read the article the other day. I greatly enjoyed the insight into LMM's thinking, so thank you. Can't wait to grab the album.

I got a reply, so all is well. Apologies, samnat.

Aged 92. Such an interesting figure and musician whose influence on British and American music was immeasurable.

Apparently Black Saint is offering some albums in 180g vinyl + CD. Jazz Loft has Ming and Old & New Dreams. http://www.jazzloft.com/p-56074-ming-180g-cd.aspx http://www.jazzloft.com/p-56073-old-and-new-dreams-180g-cd.aspx I'm upset there's no t-shirt ...

The Talking Jazz imbroglio reminded me to bump this thread. I received prompt payment from disaac on this item, but never got his address. I've sent several PMs with no reply so I hope I can get his attention this way.

I associate that album with the holidays for a few reasons-- the title tune, of course, but this is also when I first bought it. Time to take it out.

The Bud Powell Verve box doesn't usually run any more expensive than it did on list, nothing like the Bill Evans. It's usually under $50 on Amazon.

Looks like the two excised tracks, "How Deep is the Ocean" and "Time on My Hands", are the ones not penned by Tristano or Marsh, so I guess it's for cohesion? This is a dumb reason. This has been done before with hatOLOGY when multiple albums were condensed into one (Bennik/Doran/Anderson) or masters were damaged (Steve Lacy's Cliches).

Finally an update: Some new Art series, a Samuel Blaser, and a reissue of the Braxton Warne Marsh album with less tracks than the original. I was waiting for the latter, but I'll certainly skip it now and shell out thrice as much for the first edition ...

Jimmy Noone - Apex Blues (Decca/GRP) The Father Jumps (RCA/Bluebird) Harlem Lament (CBS/Portrait) Plays Duke Ellington (New World)

I like Time Further Out best as well. I spin it more than Time Out itself.

I have been spinning a bit of Kirk lately-- the early albums, I havent dug too deep into the post- Rahsaan era yet-- and I noticed we just marked the 35th anniversary of RRK's passing on December 5, 1977. Props to him. I get so much out of We Free Kings, Domino, and RR&P (especially) though there's something worthwhile in everything he did.

It's good. Modern clarinet in the 50s is in pretty short supply, so I'll take it.