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Nice one! It's all about perspective, you know... yeah, but I'm not talking to you any longer since you sold all your Kirk. There!

Don't want to instigate a discussion on the "importance" issue (who other than critics care about "importance", anyway? ), but I would just like to note that I am somewhat surprised about the whole Kirk hype - I cannot stand his playing (and I have probably about 10 his CDs, so this is more or less an educated statement): I find it very superficial and a total show-off fake. I love Rollins, btw. start a thread "Why I hate Kirk," leads to interesting discussion I have learned... oh, but visit a doctor first. If you can't tell what Kirk is about, you may have problems with your ears...

that is one bad-ass cover

or ebay (13$ buy it now)

Japan

so who's up for this week? don't tell me you forgot to tap a shoulder garth....

3. it doesn't include the original cover art! oh, wait....

is that Golden Earring or Golden Earrings not that it makes a heck of a lot of a difference to me

very nice, thanks maren

I wonder how much the actual military taking care of things after WWII has to do with this. I am not very well informed on this, I believe there were many British soldiers in Paris as well, but was the main contingent American? There were many Canadians in the Netherlands I know, and Russians in the former GDR (duh!) edit: I took the title of this thread to read "Why did so many american jazz artists end up in Paris?"

I have been meaning to check the IIO out myself, never got around to it. Did get a copy of Pino Minafra's Sud Ensemble, similar in its change from well structured heads and ensemble passages to free and loosely structured solos. Structured parts remind of marching band (banda) music, my memory tells me this also applies to the IIO but in addition they have some classically tinged, rather baroque themes in there as well(?). Interestingly, I have a GDR LP from 1984 that takes a very similar approach with Weill inspired heads and freeping solos. Of course the Breuker Kollektief played such stuff as well if they weren't too busy having destructive fun. It seems a "central European" thing of sorts. There are quite a number of Italians that play this kind of music, they all appear on the IIO now and then. Carlo Actis Dato also comes to mind. Will need to investigate this stuff.

As I wrote, it is hard to go wrong with Lateef's Savoy/OJC output, the ones I know are all excellent (still have to get some of those) My love for Richard Williams playing ballads draws me strongly towards some of the Impulse stuff though. And there are some very interesting inside/outside things to be found on the Impulse albums, which is what this thread is about of course...

And they have pretty postwomen instead of grumpy guys...

The German post service was even faster....

No way José! let's keep the variety up

On Atlantic, The Blue Yusef Lateef is a wonderful album with some otherwordly wackiness in between when Lateef sings some Japanese song. I enjoy it, but it seems something others tend to skip. Besides that, the title is very apt: there is a lot of deeply felt blues in various disguises. Very variated even with that restriction. Highly recommended, and probably what they call essential. On Impulse, besides the already mentioned Golden Flute album, currently only his Live at Pep's recordings are available I believe. Those are both stunning documents of the band with Richard Williams on trumpet. Williams does some beautiful ballads here. Lateef is his beautiful self. Hard to go wrong with these two as well I should say. Of course the Savoy and Prestige/New Jazz/OJC stuff that comes before is as pretty and as accessibly original as any of it. Hard to go wrong with those really. The Atlantic period is a bit of a mixed bag and then there are two on CTI that are more for the fans of fusion. Somewhere in the 80s Lateef played more of that new age/mood music than what you might consider jazz.