John L

My lord!!!! I had no idea that those tapes existed. You just gotta give it to us!!!!!!!

Yes. So where is the contradiction?

1971 Don Cherry(tp,p,fl,vo),Johnny Diani{B},Okay tamiz(d) How is it? I've never heard it. You might check out this valuable resource: http://www.cyborg.ne.jp/~akio01/discograph...y/cherry_d.html

Round About Midnight with Miles on Columbia or Prestige. Either one works for me. The version of Naima on Live at the Village Vanguard Again has to be my favorite, however. Trane enters another dimension on that one from the get go and never looks back. The version recorded in France in 65 is almost as good.

I don't THINK I ever wrote that, but I'll stand by it nevertheless!

I haven't heard this one yet, but I'm not surprised a bit. I heard Teddy Edwards live in a quartet last year and he was in tremendous shape, full of energy, playing for three hours without another horn to relieve him, and laying down some amazing stuff. I sat in the front row and felt that my soul was saved that night. What a loss. RIP By the way, Jim, have you heard If not, rectify that problem immediately!

this entire session was released on Count Basie Masters of Jazz volume 3. These Masters of Jazz series are now out of print, I believe, but still possible to locate. All 11 Masters of Jazz volumes of Count Basie are highly worthwhile. They gather together extensive live broadcasts, mostly in good sound, along with all studio tracks. It is really too bad that Masters of Jazz had to cut the series off in 1939. Some great Basie broadcasts only available on rare LPs were coming up. Who knows when they will ever be released now?

You mean that we don't have to marry her off?

This is an extremely interesting discussion, the sort of thing that makes spending time on the net worthwhile. Thanks for your very thoughtful comments, Jazzbo and Jim S.! I am going to have to go back and listen to Grass Roots again after all of this. I will say that, since the CD was released, I have always preferred the unreleased session to the original album. It just seemed to me that Hill himself is more in his element on that session. And yes, the unique rhythmic pulse with those jagged accents that Hill gets on his best sessions is one reason why I am so attracted to his music. I never considered the possibility that Ron Carter versus Reggie Workman could be the main difference between the two sessions on Grass Roots in that respect. Thanks again, guys.

The liner notes to "Bad" Bossa Nova!" describe a trip to a Columbian jungle. (I assume that they were written by Jug himself, although there is no indication.) While in the jungle, they overheard an Indian tribe singing "Ca purange a pe gawa y tonde." No translation is provided, although it is mentioned that it was a "deeply rooted ceremony" by some "hip" natives. Sounds like jungle soul to me.

I am also a big fan of the Chicago period. My favorite Evidence Ra compilation might be "Fate in a Pleasant Mood/When Sun Comes Out." But almost every one of them is excellent. I agree with Jazzbo that "Sound of Joy" and We Travel the Spaceways/Bad and Beautiful are also exceptional. So is "Jazz in Silhouette." The hard core will check in here soon with the more celebrated highly-experimental stuff from the 60s: Heliocentric Worlds, the Magic City, Altantis...

Good question. I always assumed that it was Portuguese (Brazilian), as it first appeared on Gene Ammons' "Bad! Bossa Nova." On that album, it had the subtitle, "Jungle Soul." That couldn't be the translation, however.

In my opinion, Some of the very best Gonzalves is on the Duke Ellington private sessions box. That 8-CD box used to sell for an outrageously low price of some something like $25. I don't know if it is still around. But any Gonzalves fan should make a serious effort to seek it out. Mex is even featured on tracks that are usually Hodges vehicles, for example on my favorite Ellington composition: In a Sentimental Mood.

Paul: Part my problem might be that I tend to enjoy Waldron more when he is playing off of a rhythm section. Of the Lacy/Waldron collaborations that I know of, One Upmanship is probably my favorite. In general, I think that what they recorded together on Enja is quite good. Lacy's early album with Waldron, "Reflections," is nice as well. The "Super Quartet at Sweet Basil," is also good, if not spectacular (IMO). John

Is that to say: "just invent melody, any melody, and the harmony will follow in step?" While any musician can *try* to forget about harmonic constraints on what they are doing, their ears often confine them to the familiar, to what they have been hearing their whole lives. Steps away from that are usually very conscious and deliberate. But it is like Ornette grew up part time on another planet. He combines the blues from this planet with a sense of melodic development from somewhere else entirely. He doesn't take deliberate steps outwards. He lives and breathes out there.

Well, I guess I will have to ask Andrew about it next time that I get the chance.

I'm a fan of Waldron and Lacy and I have these disks. For some strange reason, I have never been as fond of them as I am of many of their other collaborations.

The only one from that list that I have read is Tom Piazza. I certainly don't remember any such reference regarding Albert Ayler. Piazza's "noble savage" point was directed against white critics who he believes don't like Wynton Marsalis because Marsalis refuses play that role, and instead beats them at their own game. Such a comment form Gioia would surprise me too, given the generally positive write-up that Ayler got in his History of Jazz book. On the other hand, I wouldn't be surprised to hear Stanley Crouch say something like that. After all, Crouch calls white people who like Public Enemy "masochists."

Strange, but Judgement has never really clicked with me. I like it, just don't love it. Black Fire, Smokestack, Compulsion (and, of course, Point of Departure) are probably my favorites. I have been really enjoying Blue Black lately. I had never heard it before until last month.

Not a recording, but there exists that great photo of Monk and Mingus playing with Roy Haynes behind Bird. Those were the days.

[ I would say that Sonny Criss pretty much gets that message across on this album!

Cassandra and Mondavi Cabernet? Sign me up, please.

Andrew Hill and Joe Henderson had a rare musical communication, as evidenced by the extraordinary music that they made together at Blue Note. In the liner notes to Black Fire, Hill emphasizes the degree to which he and Joe Henderson understand each other musically and like playing together. Given this fact, I am a bit puzzled as to why they never recorded together after 1970, particularly as they both moved to Nothern California around the same time. Is there any story here? Did they have some sort of fall out?

This got strange distribution in the US. I was waiting for it to appear in the stores, and then just gave up and ordered it. It turned out to be a painless process.