jeffcrom

Hadn't posted in this thread yet, partially because I didn't know what to say. Here's a memory, which I hesitated to share yesterday because I thought it might sound like I was name-dropping. Rest assured that nobody involved remembers me at all. One year back in the '80s, my trio, The Bazooka Ants, was booked at the Atlanta Jazz Festival on, for some reason, Chicago Day. We were the only local band on the bill that day - we opened the show, followed by Douglas Ewart's Clarinet Choir (with Anthony Braxton), the Art Ensemble, and Von Freeman. It was a great opportunity for me to meet and talk to some of my heroes - Braxton, Roscoe Mitchell, Bowie. Mr. Freeman's set was the first time I had heard him live. I was standing near Mitchell and Ewart, and at one point, while Von was tearing up some Rhythm changes, Mitchell shook his head, laughed, and said, "Now that's a real saxophone player." Yep.

Father and son: Chico Freeman - The Outside Within (India Navigation) Von Freeman - Doin' It Right Now (Atlantic) I like the Atlantic album, although I agree with those who say that it's not the equal of the albums Chuck recorded. I listened to a couple of the Von's Nessa albums last night, but wasn't in the mood to post about it. And MG, I heard first heard George and Von at the same time, on George's Delmark album Birth Sign.

Again. And I still can't find a picture, at least not in jpeg format.

Chicago Ain't Nothin' But a Blues Band (Delmark). Different from the CD issue - missing some tracks, but with some tracks which aren't on the CD. In any case, fabulous blues from the Atomic-H label.

No. Although some companies were recording in stereo by 1956, Prestige wasn't one of them, and the first stereo records weren't released until late in 1957.

Bud Shank & his Brazilian Friends (PJ mono). The main Brazilian friend is Joao Donato. I had this album on at my apartment about 16 years ago when my wife and I were dating; she characterized it as "bachelor pad" music. Well, she was wrong - it's way tougher than that. It gets into some depths. Shank will make you cry on "Once I Loved." I don't remember if the album "worked" that night or not.

Looking forward.

Okay, I've put webbcity down for the next open slot, which is less than a year from now - (and there was much rejoicing!) - July, 2013. However, since he has never done a BFT before, I would like to move him into any open slot that occurs between now and then. Everybody okay with that? And Thom, one of us is confused about your next slot. Since you're doing the current BFT, you'll next be eligible for August, 2013. Let me know if you want that slot.

Earlier today: Illinois Jacquet - Swing's the Thing (Verve) Marian McPartland - At the Hickory House (Capitol)

Yep. I just decided that I wanted to learn this tune one night. It helped that the tune we're playing, "After All," was recorded in two takes by CT. I was able to "average" them and get pretty close, presumably, to what he had in mind. But maybe I should publish The Unreal Book, full of Cecil Taylor, Roscoe Mitchell, Evan Parker, Derek Bailey, and Anthony Braxton tunes. It should sell thousands of copies at Berklee, right?

I'd like to reserve: Art Blakey/Jazz Messengers At the Cafe Bohemia V. 1 Blue Note $3 Art Blakey/Jazz Messengers At the Cafe Bohemia V. 2 Blue Note $3 Dave Brubeck Quartet At the College of the Pacific OJC/Fantasy $4 Dave Brubeck Quartet Jazz at Oberlin OJC/Fantasy $3 Thanks!

I don't know if any O board members live in the Columbia, South Carolina area, but if so, you are invited to hear me play with an old friend, bassist Ben Gettys, on Friday August 24 at Conundrum Music Hall. Ben and I have played together, off and on, for almost 30 years. We'll be playing a bunch of my free-jazz-ish orignals, plus some Ornette and even a Cecil Taylor piece. (How often do you hear that?) Our friends Duet for Theremin and Lap Steel, an improv duo that is exactly what the name says, are also on the bill; we'll probably play some quartet music as well.

Hmm? Lovano has always sounded like a composite of modern influences to my ear including Adams, Redman, Joe Henderson, and Coltrane. He definitely has a more abstract and cool approach to some of his lines compared to Adams who is visceral and highly emotional. I'm gonna grab the live album with Scofield. I like his old chorus heavy sound, and he plays his butt off from what I've heard. I suppose Adams can be a bit over the top, but it sounds like it's coming from the heart. He always sounded great with Pullen. He's no Wayne Shorter or Sonny Rollins, but I still like him a lot. And his style went well with Mingus, who was quite extroverted. And Mingus most likely pushed him to play better than he might on his own. I hear everyone you mentioned in Lovano's playing - except Adams. Everybody's ears are different, of course. And I didn't mean to give the wrong impression - whatever my occasional qualms about his taste, I love George Adams. He's like a childhood hero of mine, almost. I'm not going to list the albums I have by him, because it's a ton. Thanks for starting this thread.

There's already an Adams/Pullen thread (or two), but amazingly, this seems to be the first thread devoted solely to George Adams. I love Adams - although maybe not as much as I did as a young man. I probably first heard him on Gil Evans' There Come a Time album, and liked his inside/outside style right away. I saw the Adams/Pullen Quartet at the Atlanta Jazz Festival in 1980, and was blown away by the energy; I ordered Don't Lose Control on Soul Note from a local record store the next day. Adams played in Atlanta fairly frequently in those days (he's from nearby Covington), and I always tried to make it to his shows. I don't have the Live at Montmarte album, but I've got an Enja record called More Sightings from the year before, with Adams, Hannibal Peterson, and Scofield. As I've gotten older, his playing sometimes seems kind of over-the-top. Somebody here said that he tended to press the "hot" button from the first note. That's a good description - I'd give credit if I remember who said it. I still love his playing, but sometimes I wish he would have built his solos a little more deliberately. And no offense, but I don't hear any George Adams/Joe Lovano connection or influence at all. One odd recommendation: listen to Pete Levin's tune "Subway" from Gil Evans' Live at Umbria Jazz Vol. 1 album - not for Adams' playing, but for his (mostly) spoken vocals. He calls the NYC subway stops in a way which is somehow dramatic, menacing, and funny all at the same time.

I got 'Rippin' & runnin'' when it came out and was disappointed in it. I played my rather battered copy this afternoon and really enjoyed it. I can see/hear how some aspects might not be your thing, like Freddie Waits' drumming. Now playing: Muhal Richard Abrams - Lifea Blinec (Arista Novus)

I've got that one, and like it for the work of Charlie Love, Emile Barnes, and some of the other guys. But Albert Warner is probably my least favorite New Orleans trombonist. I find his playing almost totally uninteresting, and when I see his name on an album, I sigh. I'll usually listen anyway, but always with regret that they didn't get somebody better for the trombone chair.

Wow!

Some newly acquired early jazz: Original Memphis Five - Your Mama's Gonna Slow You Down/Steppin' Out (Bell, 1923) Tennessee Ten - Gulf Coast Blues - Sugar Blues Medley/Down Hearted Blues - Chirpin' the Blues Medley (Canadian HMV/Victor, 1924). The Tennessee Ten was an expanded version of the Original Memphis Five, less hip and more dance-band oriented. Not bad, but not on the same level as the OM5. Blue Grass Footwarmers - How Could I Be Blue/Senorita Mine (Harmony, 1926). This was a Clarence Williams group that made two 78s for Harmony - cornetist Ed Allen and percussionist Jasper Taylor are on hand. Then I switched gears, to some late-40s R & B: Annie Laurie with Paul Gayten & His Trio - I Love You Yes I Do/One Sweet Letter From You (DeLuxe, 1947) Paul Williams' "35-30" Sextette - Paradise Valley Walk/Walkin' Around (Savoy, 1947)

Johnny Griffin - The Big Soul-Band (Riverside stereo)

Jackie McLean - Tippin' the Scales (BN)

Living Legends (Verve Folkways). Son House, Skip James, Bukka White and Big Joe Williams, recorded at a New York club gig in 1966. It's very good, and the Skip James tracks are probably my favorite James recordings from his "rediscovery" years.

You're right, Patricia, but what's going to stick with me from your post is the juxtaposition of my last sentence and your first sentence: Certainly agree with your last paragraph. Thanks a lot!

Go, Allen! Go, Shipp! Go, Suhy! Enjoyed it.

There is now an Edgewood Sax Quartet website. It's pretty basic at this point, but I'll be adding to it and improving it in time. Under "Music," there are four tracks from our recent concert, much better musically and sonically than the rehearsal clips on our Bandcamp page.

Jazz of the Connecticut Traditional Jazz Club #11 (CTJC). The CTJC used to record their concerts and issue highlights on LPs - there are at least 18 of them. Some of the recordings have shown up on Jazz Crusade, but as far as I know, the tracks on this album aren't available anywhere else. Side one has five 1974 tracks by the Onward Brass Band, with Louis Cottrell, Frog Joseph, Teddy Riley, Danny Barker, etc. Side two is split between Clyde Bernhardt's Harlem Blues & Jazz Band and Gene Mayl's Dixieland Rhythm Kings. I once passed on the volume that had outtakes of the sessions for Capt. John Handy's second RCA album, because of some slight concern over condition. I was an idiot.