ep1str0phy

Paul Cook Keith Moon Ginger Baker

I've been getting really conscious of my ears lately (especially recovering from congestion, being a musician--it just sucks not to hear those nuances...). Health is such a fragile thing... I think I'll be spinning Ornette's The Great London Concert again shortly...

Another note (as the regulars on this section would probably appreciate it): who here has heard/picked up the reissue of Gwigwi Mrwebi's Mbaqanga Songs? It's post-Blue Notes, pre-BoB material (with early versions of some BoB tunes), but the points of reference here are a little oblique... it might fit in with some of Masakela's work (the post-Jazz Epistle scene), as it is certainly along the lines of afro-pop--but the energy level here is a lot closer to Pukwana's Spear albums. It's a beautiful set that always sits just this side of tipping out...

Don't know about what happened to DeGeronimo, but this popped up: http://mysite.verizon.net/rutherford.ll/hi...stats/index.htm Do a "find" for his name--Lions, 1961. Was he on the Rutherford Little League roster? (it's an obscure name, so...) re: New Africa. The key track for me on that one is "When"; it's where the contrasts between the players are most pronounced. The "hand-off" between Mitchell and Shepp is amazing. Mitchell isn't reaching for those florid, explosive runs--he leans on the melody, waltzes with it--there's a tremendous push-pull tension within his lines, and the sheer force of those phrases is enough to make the listener pop. Then comes Shepp, who is flat-out, apeshit nuts... starts out with that bubbling, seething tone of his, then BOOM--all the tension that had accumulated from the Mitchell solo just comes pouring out in this tough, beautiful altissimo. What's really great is that the rhythm players feel it, too--Cyrille just unloads all this energy on the front line (that snare work is spectacular), and then it cools... they all made New Africa, and that's why I listen to this music...

Try this?

That's one of those sessions where everything works, but I have to give it up to Cyrille in particular (like in previous threads)--the man is just a monster of power and flexibility on those sides.

At the same time, it's widely held that Lifetime did their best work live...

Yeah, that's a beautiful one.

Yeah, they played "Scratch" on the same pay cable network that I got this doc on. And yeah--this is a legitimate branch of improv.

Has anyone here heard For Four Orchestras?

It's a full-length movie. Some of the links on the side of the youtube video (the ones that say "Keeping Time") are from the same documentary.

I had no idea that Bruce stuck around after the Young/Williams partnership had dissolved.

First thing I ever played for my (now extremely) steady girlfriend was "Davashe's Dream"... (SA Jazz is always a good thing)

Well, "Wildlife" was a tune from Believe It that Bruce often played... (was he present at those sessions?)

...and so begins the cycle of regret.

I still think Maiden Voyage is sort of a disappointment, if only because those cats could really come unhinged of they wanted to (but didn't there--and those compositions demand some stretching out). Some may disagree with me, but I actually like the VSOP versions of some of those tunes a lot better (total lack of subtlety and all).

DAAAYMN!

I think he was ten (does that change the valuation?)... Doesn't matter... I love the album.

Richard Chamberlain Bruce Lee Chuck Norris

Bypassing the obvious snarky comments, this is a recording that needs to be heard to be "dealt with". There's really nothing (in the spectrum of jazz) outside of the music of other early AACM members that one can sufficiently relate this music to--and it's certainly not the "free blowing" as you mean above. (i.e., give it a try)

Ted Danson Woody Harrelson Shelley Long

I think you are confusing it with New Directions. Guy Yeah, I've been doing that for years and it never occurred to me. So yeah, New Directions...

Daisy Bell Nancy (with the laughing face) Laura

DeJohnette with McLean is great, and Special Edition was a fine band (tho it may have underutilized its component parts--never enough crazy-ass Lester Bowie, I say!).

I'm pretty pleased at all the love for Cape Verdean, which gets my vote (edges out Song For My Father, IMO, in the way of originality and fire; it's at least a mild sea change from everything prior--although at times it really sounds like a J. Henderson session. I don't think Horace bested Verdean in the way of "progressive" dates). ...and the Jazz Messengers is a great choice, though... I think the scores of copycat dates might have dulled its impact a bit, but not its luster. Fine playing all 'round. (coded comment: get more than one!)