ep1str0phy

Ornette will be performing Skies of America tomorrow evening in Bologna, Italy, with his quartet (Al McDowell, Tony Falanga and Denardo) and the local Symphony Orchestra. In 1990, there have been two Italian performances of Skies of America, one with the Quartet (Ornette, Cherry, Haden, Higgins) and one with Prime Time. The Orchestra conductor was John Giordano. luca Heck. Talk about a coincidence. I'm going to start an Elvis found on Moon thread and see what happens. On a more serious note, I have a review (at least one) of the London 198x performance - I'll try to find it... I'm familiar with the fact that Giordano reorchestrated the piece, but I'd be interested in knowing just how much (and to what extent) things changed... With regard to the Bologna performance--if that's Ornette's present quartet, what happened to Cohen? Thanks again, guys...

Here's to many more years of great music... (Ep1, regretting not bringing his Savoy sides up North...)

Michael Carvin solos on 'Who Does She Hope to Be?' (the Sonny Sharrock ballad) on Frank Lowe's Lowe-down and Blue. Quite beautiful in a minimalist way.

Well, I love Foxhole.

Thanks for the info, folks. On the level of the London recording: it is reported that Ornette had been rehearsing (prior to recording) with top symphony players (maybe not enough, simultaneously, to record, though).

I dig those covers.

People: I'm looking for information on Ornette's Skies of America--not only the recording, but also the history of the symphony in the way of public performance and development. Anything you have--including old reviews of performances and the album (or even personal opinions) would be greatly appreciated. Also, for those scholars here--the history of the composition is storied but somewhat sparsely available. I've already read through the Litweiler and Niklas Wilson books, as well as numerous articles online; I'm still curious as to the specifics of the policy of the British Musicians Union (preventing the OC Quartet from peforming on the album), why Ornette was impelled to work abroad (I would assume this has something to do with the quality of the LSO), and the role of Coleman's Guggenheim grant or any other subsidies in the production of the symphony. Again, anything would be greatly appreciated.

I had to read that a few times before I figured out what the heck was going on... Doesn't it sometimes seem as if this sort of thing happens every few years? Remember the Yellow Submarine 'Songtrack'? Anyway, I'd like to see a mash-up-type album top the Gray Album stuff, but we'll see...

Yep. And since he's in the mood for more accessible Hill, he should get Dance with Death, too. (in the long run, I agree with sal...) For the most accesible Hill on record (probably), go with Shades (on Soul Note). It's got Clifford Jordan on it and it's a generally straight hard bop/post bop corker.

I think it's a terrific catch. Moreover, considering Ornette's penchant for intricate musical formulation, it wouldn't put it past him in the way of remembering and invoking the lyrical content. Maybe it was a subconscious twitch, maybe overt; regardless, I think Ornette's mind--with his music--is working at a terrifically quick and powerful level. It would be interesting to hear and compare other recordings of 'Turnaround' from this tour (and, for that matter, dating back to some 'earlier later performances'--e.g., the original quartet reunion in the 80's)--is this the only time he's done it?

I'll only add that those Barron Savoy dates are wildly underrated. A good chance to hear some legendary players out of more familiar group folds (e.g., Mingus and Trane), too.

Whoa. Frankly, I would've liked to have heard some Charles Davis on those sides...

There's always Love, Love. And if we drop in albums, too, there's Rahsaan Rahsaan.

Sonny's Dream is a piece unto itself. Hard boppish in character, yes, but the writing and Sonny's solos push the boundaries of the idiom in a fairly idiosyncratic, somewhat progressive manner (Tapscott's all over it).

No. Black Fire and Judgment are both more accessible, as are several Andrew albums from the late 60s. Guy Black Fire maybe, but Judgment is very explosive in an explicitly avant way. The lack of horns on the latter session obscures the already oblique group textures and complicated compositions/forms. Among the more striking elements of the album is the sheer metrical complexity created by the ensemble interactions (we're talking Hill, early Hutch, Richard Davis and Elvin freakin Jones, for cryin out loud)--It's dizzying, dizzying stuff, and perfectly suited to Andrew's darker, denser side.

I love Dick Griffin's work with Rahsaan--wish I could go (I'm on the WC).

Oh--and it seems as if this is the Wright-Silva-Few-Ali group, which I have yet to hear (I've heard several of the other incarnations, though). I'll admit--I'm a big fan of Wright's bass-less bands, but this should be interesting...

Hell Yes. Thanks, B. -Oh yeah--much love for the Rev. The Wright/Howard group is one of my all-time favorite combos--the finest, most impassioned of post-Ayler, church-inflected free jazz. I just hope that this release is up to the standards of the group.

Josef Rosenblatt Charlie Parker Louis Armstrong

I don't know why more people don't love this album.

I was just having a conversation about Ornette and more inside contexts. There's an intriguing element to his phrasing that refuses to adhere to the formulaic nature of the more traditional jazz progressions (e.g., rhythm changes, blues); even when playing these forms, Ornette does not usually play even lines, pulling out of 8-bar patterns and moving around, and not on, downbeats (Tomorrow is the Question comes to mind). Regardless of where this comes from--and, by anecdotal accounts, it's a conscious move away from bop convention (there's that old story where Ornette knocks the drummer--Ed Blackwell, was it?--for hitting the downbeat and cutting off his phrase)--it's a refreshing sensibility that works even when, perhaps especially when, viewed in light of fixed form--paving the way for the rhythmic and metrical liberties of a lot of later stuff. In all fairness to youmustbe, by the way--and there's a gut reaction on both sides of the "he can/can't play" debate--the critical gradients can be pretty subtle. As far as I'm concerned, the musicality can go any way--if it hits you deep (as it obviously has youmustbe, and many here), it counts. Jesus does it count.

Thanks for the heads up--always good to here Tyrone--and with the likes of Lacy, Rudd (etc.) to boot.

Me too, probably. Don't get me wrong, I do really like Point of Departure. But in some ways, I think PoD is a tiny bit overrated (and I think "Blue Train" is way overrated). So often PoD is thought of as THE Andrew Hill album to get (like how for a long time it was the only Hill date released on CD, and it was one of the very first Hill RVG's, etc...). But I think "Black Fire" ought to hold that title. I love POD and I love Andrew, but I tend to go back to Judgment the most. As per the rhythm section discussion right above me... I love Alan Dawson, but the Byard/Davis combo really cooked with Elvin at the drums (Rip, Rig, and Panic is a corker).

Count me among the fans. He (and his sound) will be missed.

Noah Howard Norris Jones (Sirone) Norman Connors