Big Al

I can tell y'all from having seen these guys live: one's gotta have a LOTTA stamina to keep up with these guys. Playing like Ron on Grass Roots will get you flattened at a Quartet Out gig!!! Having said that, the more I listen to GR, the more I really enjoy Ron Carter's playing. HOWEVER, I can totally sympathize with the antagonists on this one, and I think I understand WHY there's this discomfort: it seems like Hill went out of his way to NOT make an Andrew Hill record. By that, I mean that he wasn't doing his usual boundary-stretching like he'd done on previous Blue Note albums. (As an aside, when I listen to this, I often wonder what my reaction would've been had I been around at the time this came out. Perspective always seems to change when one's actually lived through it) Without sounding derogatory, GR sounds like an adventurous Herbie Hancock record, which in itself isn't necessarily a BAD thing; but I guess when you expect the kinds of things Hill is capable of, I can see how some people would be frustrated at what appears to be a kind of playing-to-the-lowest-common-denominator. Sort of like when Hancock made that video for MTV. So my enthusiasm and enjoyment for this album is tempered by a slight "there but for the grace of God go I;" I have to think that it's only because of my place in the whole scheme of things that I'm able to enjoy this album as much as I do. OR, I could just be full of shit and after ten-plus years of listening to jazz, I still wouldn't know good jazz from a hole in my head (among many); I just knows what I like!

I'll echo the comments made about what a relaxing session this is. It's relaxing without being boring; soothing without being anesthetizing! Talkin' About is probably my favorite that these guys did together, but this one is indeed special. And I think the presence of Bobby Hutcherson is what makes it special. He adds some nice color along with his solos. A great choice indeed! Can't believe we waited so long to nominate conn500! B)

I see that BMG has this one now. I've never heard it, but I assume it was part of the Basie Roulette Mosaic. Any thoughts on this one?

A bit late, but here goes: “Mr. Marsalis, if jazz is the great melting-pot of all races and cultures, how do you explain Stanley Crouch? You must know that Mr. Crouch’s writings are divisive and elitist, enough to get him fired from Jazz Times. Mr. Crouch forwards the notion that jazz music should be played and listened only by African-Americans; the implication being that there is no room for anyone of non-African (i.e. European, Latin, etc.) descent and, to a lesser degree, light skin pigment. It would seem to me that, given your stature as the face of jazz, connecting yourself—or at the very least, not publicly disagreeing—with Mr. Crouch’s public stance implies that you agree with him on some level. Is that so? Because to do so would ignore the contributions of Stan Getz, Dave Brubeck, Bill Evans, Lee Konitz, and Warne Marsh (not to mention the groundbreaking work of Antonio Carlos Jobim, Vince Guaraldi, Cal Tjader, and others who popularized Brazilian jazz) from the 50s and 60s; as well as the groundbreaking works of such players as Joe Zawinul, Miroslav Vitous, Chick Corea, Dave Holland, Keith Jarrett, and Dave Douglas (whom you must know Mr. Crouch blasted in his final Jazz Times piece, simply for having the audacity to attempt to play jazz while being white! How dare he!) from the 70’s up to today. Don’t you think that, as someone whose educational stature is without question, attitudes like this are detrimental to future generations of jazzers, players and listeners, of all races and cultures?” *********************** Given that he gets most of his jazz information from the likes of Crouch, you could come back to him like this: “So then, does this make you the George W. Bush of jazz, and Stanley Crouch your Dick Cheney?”

Always thought him & James Garner made a great team.

Could this be an indication that Blue Note is now entering a phase like that of the 70's? [[[[shudder]]]] I hope not!

Do the names Dizzy Gillespie and Lee Morgan mean anything to you?

Man, I LOVED those records!!! The first thing that came to my mind is actually a non-Blue-Note side: Philly Joe's "Blues for Dracula" on a box of Count Chocula! I'll think of others later!

YEAH!!! I wonder why Blue Note didn’t release Horace Silver and the Jazz Messengers as an RVG along with the Trio album? I would’ve thought there’d be more demand for that one.

Maybe he's a NTU alum?

It's good music to be sure; but to these ears, it starts to get repetitive after a while!

Man, that is one beautiful baby in your avatar. And I love the signature at the bottom of his posts. So much can be learned just by looking at that picture and reading the inscription. So, sorry if this announcement comes belated; but it is heartfelt. Congratulations!

AMEN and have-more-greeeeaze!!! KB is my absolute faaaaave to play alongside the Master! Especially during THE SERMON!!! Put yer hand up high and SHOUT "Have mo' greeens!!!" Daaaaaaaaaamn right!!! That's the one that makes me wish for the vehicle you mentioned earlier in your post. Especially on "Bus Stop!" That one right there could take the coldest winter day and turn it into a hot sweaty cruise thru the suburban jungle in a classic '76 Buick Delta Whale with the top down and the speakers at full tilt!

Forgot to mention: IMHO, Ron Carter is da MAAAAAAN on Grass Roots. I know Richard Davis is rightfully regarded as Hill's best bassist, but I think that the choice of Carter on GR was an inspired one because it allowed Hill to bridge the gap between his groundbreaking abstractions and his desire to reach out to the jazz masses. Maybe Davis could've done it as well, but I think Carter's delicate touch and sense of swing fit perfectly on this album.

Sorry about the long weekend lag! I listened to 'em a few times, and I want to believe that the clips are not painting the whole picture; because the clips are just one-minute samlpings of each head of the song, which feature prominently..... the voices. And I gotta say, those voices turned me right off. Not a knock against Hill or the vocalists; I'm just not that hip on the human voice as an improvisatory instrument (I don't enjoy scat singing, either, Louis Armstrong notwithstanding). I did pick up Grass Roots earlier in the week, and though I've only listened to it a couple of times, I am really digging it. It makes me want to look for some Booker Ervin sometime down the road. Plus, I reeeeeally dig those groooves! And Hill's playing is nothing short of top-notch, proving that he could/can play in any bag! Right now, I'm eagerly awaiting getting Passing Ships (every time I read that thread, makes me wanna run right out and get it NOW!), which will hopefully be tomorrow! After reading the bulk of the posts in this thread, I do wish those Soul Note records were still available.

I didn't think there would ever be a 5-1 Cowboys again under Jerry Jones. Glad I was wrong!

Not to mention the fact that it's the ONLY jazz station in this cultural wasteland. Jim's right about the seeming takeover by the Lab Band. You could also try KTCU-FM, not a strictly jazz station to be sure; but they do have jazz programming nonetheless. Worth a shot.

As a casual unbiased observer (I hate both the Yanks AND the Sox), I have to agree: Little deserves the Undisputed Chump of the Year Award for letting Pedro go as long as he did. Completely inexcusable. And forgive me for saying this, but I don’t buy this “believing in your best pitcher stuff.” Sangrey is absolutely right: do what you gotta do, when you gotta do it. His ass should be canned PRONTO! (So he can manage the Rangers, where he’ll fit in much nicer ) Him and Baker deserve their goat status right now. In fact, folks in Chicago oughta focus all their bile away from Bartman and right onto Baker for his folksy “aw, shucks” attitude after losing the biggest game of his career. Any REAL manager would’ve been breathing hellfire and brimstone if his guys had given away eight runs in one inning like that (of course, a REAL manager wouldn’t’ve left his pitchers in there for longer than they needed to be). Baker’s reaction to losing: “Well, these things just happen I guess.” GMAFB!!!!! The 11th inning homer by Boone was bittersweet: on the one hand, guys dream their whole lives for a moment like that; how cool then to have your brother watching from the broadcaster’s booth when that moment comes? On the other hand, I felt awful for Wakefield, and hope that no one holds that moment against him. If Little had used his brain in the 8th, there wouldn’t have been a need for it to come down to the wire like that.

Many props to ss1, who made a comp for me of some of Lytle’s greeeaziest moments, including “The Village Caller,” which has a groove that JUST WON’T QUIT!!! The rest of the stuff is chock full o’ lard as well!

Yeah, but how much vocal stuff is on it? I think that's what scares me the most!

KNTU in the Dallas/Ft. Woth area. Good luck! Hope to hear you guys on the radio soon.

I wish I knew. But don't "Candy" just fit nicely into the groove? Especially on "The Turnaround!" I'm happy to report that I finally have this back in my collection. I sure would like to know what drugs I was on when I traded this away the first time. I forgot how beautifully driving "Latona" is, and how plainly beautiful "Shadow of Your Smile" is, and how rollicking "Jakey" is. It's all good fun, and Hutch adds a spice of a different kind to the proceedings!

I FINALLY get it!!! Lately, I've been on something of a Hill binge, what with the new Conn coming out & all (and reading all the great comments in that thread, which I am too lazy to link here ). I haven't got it yet, but plan to. QUICKLY!!! So, to bide the time, I've been digging other stuff of his. I was fortunate enough to stumble across a used Mosaic a while back (no booklet, alas), and thought for $22, this was well worth looking into. Needless to say, the first couple of go-rounds scared me to death. (In fact, I still don't get Point of Departure, but that may have more to do with me not being able to get Dolphy than anything else!) But slowly, EVER so slowly, it started working its way into my system. Judgement was the one that left the most lasting impression. I mean, you can't go wrong with Bobby Hutcherson & Elvin Jones. Then I noticed that Richard Davis was all over the sessions, and HIS playing started reeling me in as well. So, two years and countless listenings later, I'm slowly appreciating this set. Some I enjoy now more than ever (Black Fire, One for One, and Andrew!!!); others are still just a wee bit "out there" for me (Smoke Stack, and especially the session with Sam Rivers. I can only listen to that in small doses, intensity level being as high as it is). Fast forward and start to dig some sideman appearances, especially the Hank Mobley No Room for Squares album. Not only is Hill an accomplished writer, but he's a helluva comper too!!! Especially on tracks like "Three Way Split" and the title cut! Then, of course, there's Dialogue which features Hill stealing the show on a grand scale! AND, if Joe Christmas is reading, I want to say right now that I shoulda purchased Dusk when you showed it to me at Tower a few years ago. I finally heard that album this week, and cannot remember the last time an album moved me as much as this did. The section work is lush and provocative to be sure, but for me, the highlight is the piano solo (don't have it in front of me, but I'm sure many of you know which one I'm talking about: track #4). I was in a trance at work today, and it was like a beacon of light broke through. Then, the floodgates opened today during lunch, while listening to Greg Osby's The Invisible Hand. Hill's phrasing during the second track, his subtle use of space, and the way he plays with, around, behind, and through the beat was nothing short of breathtaking. That's the kind of thing where something reaches from the music, slaps me around a bit, and says, "SEE??!?" I do now!!! As a P.S., I picked up Grass Roots today, for fear that somebody else might beat me to it and then I'll wonder what I missed. Hopefully, this thread will go long enough that I'll be able to share some thoughts on that as well. One more thing, how is Beautiful Day? Does it live up to the title? Whew! Thanks all for letting me air all this out. Needed to do this after the Cubs heartbreaker tonight!

Not only that, but their song clips have all but vanished. Why did they discontinue the sound clips for Blue Note CDs?

Yeah, baseball lore it is. But when it comes right down to it, this was a grade-Z choke by a team that had the Marlins in their grasp and let it go. Come on: they brought out their two best pitchers, two guys who hadn't lost back-to-back games since 2001, and they got rattled. And then there was the non-existent Cubs offense in the last three games. Hell, the pitcher accounted for THREE of the Cubs runs tonight. Like Brad said, and the Marlins, apparently, do. They came right out swinging, and didn't let up, even after giving up a HR to the pitcher and then losing the lead. The Cubs. on the other hand, played like a team defeated from the 7th on, swinging for the fence at every pitch. It was heart- and gut-wrenching. I also hereby revoke all bad will towards that fan from last night's game. It's not his fault the Cubs gave away the game, and eventually, the series. Again, like Brad said, the good teams put this behind them and move on. The Cubs played tonight like they were still rattled. Having said all that, I'll be rooting for the Marlins this series for one reason and one reason only: PUDGE RODRIGUEZ, far and away one of the greatest players in the game right now, racking up the numbers, and steadily moving from hero to legend status. We loved him here in Texas, laughed at the Marlins when they signed him, and now we're (at least I am) eating crow for laughing. But in between gulps, I am extremely happy for this guy: he never would've gotten to where he is now with his former team. 95 years will seem like a drop when, 200 years from now, the Rangers will have yet to make it into the ALCS. So, GO PUDGE!!!