mikeweil

Chuck, could you please elaborate on this, or did I overlook some your comments on this earlier in this thread? Thanks a lot!

Now I get what you wanted to say and fully agree with this. But didn't it always takle strong individuals to follow one's path without compromise? Or, to view things from a different angle: Once you've reached total freedom of musical expression, everything you do has to sound conservative after that. That's what happened to Stravinskij after "Le Sacre du Printemps", he had broken all conventional boundaries of his time, and either was afraid of the consequences himself or didn't see any further development in that direction. Are Coltrane's last quartet recordings (Stellar Regions) more conservative or just the quest for a new direction? More "conservative" on the surface does not automatically mean "less progressive". Perhaps you can unfold your own personal vision better by taking a step "back"? This is not criticize Chuck's or anyone's views, just an attempt to complement them.

My sentence: was meant to include this.

Clare Fischer and Gary Foster belong on that list as well. Their duo recording give clear evidence.

So here's part of what David Wild wrote for the first issue of the magazine disc'ribe that he and Michael Cuscuna run for three years, published fall 1980 - seems it is not available online: [some remarks on Wes' further career including his collaborations with the Wynton Kelly Trio complete the article] I'd say there may be a recording of the Monterey Jazz Festival performance, if any exist at all, which I doubt, in spite of what has been reported. I simply can't imagine someone turned down an offer to buy any tape of this in whatever inferior sound quality ...

This is available on cd, I have it. Would you please post details? Japanese? I thought they'd never do that on CD!!! This and the solo piano Musa/Ancestral Streams are my favourites, but I like em all, and second any recommendation in this thread.

Isn't this something taht can be observed in the musical development of many musicians? I rememeber being thrilled by the adventurous music of Herbie Hancock's Sextet (immediately before Headhunters) and Buster Williams and Eddie Henderson now play a lot more conservatively than they used too. Billy Hart and Bennie Maupin stayed on this level, Herbie too, although he went into many directions, only Julian Priester advanced as far as stylistics are concerned. Same goes for many, not all of the hardbop generation. After reaching a certain age most seem to prefer to stay on familiar or established territory. This may have to do with the taste or policy of record labels and/or producers. Did Alfred Lion actually like the more advanced stuff he produced? Same goes for Cuscuna, whose tastes seem to become more conservative over the years. This is a complex subject to discuss. I saw Joe Henderson several times as he toured Germany almost every year before his Verve success (met him personally when he came to gig I played in a club that wanted to book him) but never with sidemen as good as Mraz or Foster - he had good people, but they were not up to par with him, so a certain sameness crept in. I liked him best when confronted with new challenges or sounds, like a Jazz meets Flamenco concert at the German Jazz Festival, or the record with Alice Coltrane or Luis Gasca on Milestone. There he plays things nobody else could have done. Nobody!

This is one even I know, the opposite of a movie buff. It was shown on German TV several times. One of the nicest Private Eye movies I've seen. Would like to see it again. RIP.

Wild's Place would be the first source for this, I know we once wrote an article on this for disc'ribe, don't know if there's a copy of ot online. But he should know.

Does that mean FREE JAZZ ?!?

Mine's bigger ...

Don't remember how much I paid for it, but never regretted a single cent of it. Bought it when it was a year out. Sound is okay, haven't compared with the newer remasterings. But this set is the only place to get the sessions in recording order and complete on a minimum of discs and with minimum disc change. And the booklet with Keepnews' session notes is a great read. I hate it when sessions are scattered over several CDs. But if you prefer LP order and can do without the Shelly Manne session, which is not indispensable ....

Please post in the "Jazz in Print" department when it's out. I'm sure you will sell quite a few copies to board members!

I agree: reading through this is invaluable, you don't get things like this in any jazz book. I didn't know Henderson studied with Larry Teal, I know Bennie Maupin did, who shares some traits with Joe, the projection at all volumes, and the irresistible urge for a climax, although he doesn't have nearly as many tonal shadings. Joe certainly was a musical and role model for many, some where mentioned above, but not Joe Lovano, who seems unthinkable to me without Joe, or Javon Jackson - I sold his first Blue Note CD 'cause he sounded too much like a Henderson clone to me ...

Free tunes? They'll cost you precious brainwrecking moments!

Well said, Jim: To be a sideman or not to be a sideman, that is the question - at least for some people at some point in their lives. Hill certainly knew why he wanted Lloyd, he could have asked for Henderson right away. Maybe both Dorham and Alfred Lion opted for Henderson when getting Lloyd would be complicated - the sentence "XXX appears courtesy of YYY Records" is not often found on Blue Note covers.

Courtesy of couw, of course ....

Now who was it?

Definitely not. Electric pianos, harpsichords, you name it - but no organ. The Herb Ellis is a great - actually the one Herb Ellis disc I like the most, bought for Melvin Rhyne. His second career started with exactly that Ellis session in 1991 - if that's anyone's idea of "recently" ..... I have the Humair/Louiss/Ponty disc, it sure is worth a listen, some of the jazziest playing Ponty ever did. Louiss is in fine form too. And Humair is always great, one of Europe's best jazz drummers, he's played with practically everybody except Rollins and Miles (he said in an interview).

He mentions neither Elton Dean nor Tommy Smith !?!?!?!?!?!

My copy of Vol. 2 has 4 tracks marked as previuosly unissued, perhaps that refers to them being on the other twofer and should say "not on original LP"?

Is this the afro-cuban compilation, and where can I get it? Thanks!

Not to discourage you, but my experience is that Amazon.de is very slow in updating their files as far as unvailability of CDs is concerned. They stop backordering after some time and do not notice a title is deleted until someone orders them. This happened to me several times ...

I have a 1988 facsimile Lp reissue by Polygram France, which doesn't even mention Rostaing (or Guisnath) anywhere in the liner notes or credits. Otherwise the credits are identical to the ones brownie posted. BTW, Migiani is credited for playing "basse saxo"!!!