mikeweil

We're now talking about three bands: 1. V.S.O.P. with Freddie Hubbard. I found that very interesting, because these guys were a pool of players popping up on about every other Blue Note LP, and often were playing more progressive stuff than with Miles - remember Tony's notion he wanted to play with Cecil Taylor? Compared to some of the adventurous stuff these guys did on some Blue Notes, I found VSOP leaned a little too much towards the Miles quintet. Legitimate, of course, but not adventurous enough for my ears. 2. That Tribute band with Roney - As far as I can see our thoughts concur on that one. 3. The Tony Williams quintet with Roney and Pierce - I conceive their style to be influenced by Miles' quintet, but basically they're rhythmically more in the pocket. Someone called them Tony Williams and the Jazz Messengers ... Too bad Tony couldn't pursue the new path he had been set for ... a new electric band. I ALWAYS liked his writing very much, and with the new band it was like hand in glove. I saw Roney with Herbie's Future to Future band - he could have played more, played some Prince of darkness attitude in a way, from the side of the stage. Refused to solo in the encore - Herbie's 2nd keyboarder took the opportunity and played a GREAT solo, even Herbie applauded. Must be very very difficult to step out of Miles' big shadow ... What's Roney doing right now?

Hit # 2: Note the series name "Out Jazz" !?

Here 'tis - I knew I had seen it somewhere:

Is that the LP? (Frankly, I doubt it, rather not a later reissue of 1331, it has # 1553)

Seems only recordings NOT bought by Fantasy were reissued on Black Lion, but not all of them (the stuff by lesser known Scandinavian musicians being the exceptions).

Haven't some of these been reissued on Collectables? Sometimes they make odd combinations for two LPs on 1 CD. Collectables

As Jim Sangrey said, it's not bad, but all that tribute sh.. is a pain in the neck and probably done for monetary reasons in the first place ... nothing there that beats the original. Had this disc, but didn't move me enough to keep it, but not bad ... they played in Frankfurt at the time with Dave Holland for Carter but I didn't go after hearing the disc and reading the admission fees.

Wasn't the sessions with Draper a reciprocal thing, since Trane played on a Jubilee Draper session as well?

What is this thing called jazz, this funny thing called jazz .....

Sent you a PM, John .....

Well why did you ask her ......

... and it can get a little tiresome in large doses. She could use more dynamics, shadings, she's wailing all the time. Very good, but why not use more variation in overall musical design?

I was afraid it would look like the poll results from Modern Drummer magazine.

The longer the record runs, the more this is confirmed. One advantage of using an organ: She doesn't have to take a breath ..... her sheets of sound are endless.

Always wanted to get some Freddie King, but didn't know which one to choose ... now I know Jerry Jemmott - that waters my ears too!

I bought the Hawkins, Parker and Young sets for my wife when she started learning saxophone. Nice seprate booklet with extensive bio. Discographical data only in the individual discs, making it a little cumbersome to find specific tracks. Sound quality is not as good as on the best remasterings available. As a representative overview, they seem okay to me, but for the serious collector, there are better (sounding) alternative issues. p.s. I see you're asking about the 5 CD boxes - the ones I bought are 10 CDs with booklet, but also from T.I.M. Germany. Got them from one cat on ebay, never saw them in shops.

A-1: Transfiguration - organ trio A-2: One for the Father - piano solo B-1: Prema - piano trio with strings overdubbed B-2: Affinity - organ trio C-1: Krishnaya - organ trio C-2: Leo Pt.1 - bass solo D-1: Leo Pt.2 - drums solo and organ trio Listening to her organ playing I recognize it is a direct translation of her husband's late period sheets of sounds style to organ (not a Hammond) including some pitch bending. More advanced than Larry Young. Our only true free style organist? If so, she's heavily underrated for this!

I dug out the double LP and it clearly states that a string section was overdubbed to one track, "Prema". She plays piano on that track.

I find the version of Waldron's "Seagulls" on this LP to be very beautiful: Anybody else here heard this one too?

There was a thread on this before.

My respect for taking the quest! I really dig Live-Evil, but for the improvising of the band, I would take this without Miles - I like it even better when he's not playing. There's less of his influence in a way, as a soloist shaping the music, than in previous albums, maybe that's what you're missing?

Too much square thought for me

Here's one for comparison: There's more at Gary Smulyan's website. Yeah Howard Johnson plays some mean bari on occasion! There's a great bluesy one on Taj Mahal's live album "The Real Thing".

I think Pepper stayed more himself than other players that fell under the Coltrane spell, Frank Foster and Harold Land in particular, who changed their styles considerably after hearing Coltrane after 1960. Pepper had that quest for a more direct and uninhibited expression in him since his Pacific Jazz trios, this is mentioned in the liner to "Art Pepper meets The Rhythm Section" as well, but contrary to Foster or Land he did not use Coltrane phrases directly, but took it more as an encouragement to play "free" in the sense of disrespecting conventions where they inhibited his personal style - al teast that's the way I hear it. Congrats to admitting the influence wthout falling under the spell of it - I liked Foster and Land much better before their Trane infection - although I like Land with Hutcherson an awful lot.

It's funny that you identify an improvisation on a theme by the chord changes, although these can't be copyrighted! Of course this is common practice, and I would have explained it the same way you did, Jim ....it ain't Nature Boy, no way, though I hear the resemblances you talk about, couw. Sometimes the references to a certain song or melody are done unconsciously, I'm convinced, sometimes it is a creative game. It's part of the game ever since beboppers wrote new themes on standard chord changes. On the other hand, take blues changes: They are all the same, and nobody would discuss similarities between themes, because it is expected to be that way! There a many roads to travel ...