ep1str0phy

I've actually been very wary of that release--may have to look for it again (shows up in shady spots, here and there). That lineup could give you absolutely anything, and 'funk' in the title didn't give me much hope beyond your upteenth Headhunters rehash. I'm still wishing for the will-never-come Mwandishi reunion.

My run-ins with Hal's music have left me deeply pleased, although I don't listen to him often enough. I have, I believe, all the ECMs--wonderful, all, and the solo record is quite beautiful. There's a great deal of pathos about his playing that is nicely complemented in the humor and aggression of his wilder moments. Time for another spin...

Excellent posts what, two years ago? Wasn't even on here then... But I agree with Clifford on the Dixon-Shorter issue. There are some facile similarities (mainly in the way of timbral liberties--especially when Bill had his chops issues--that's no knock, just an observation--but then there are probably some rudimentary commonalities among all trumpet players trading on the liberties of the 60's), but, again, very diverse aesthetics here. Dixon is, one the one hand, more ingrained in a compositional ethos dervied from Western art music as well as rhythmic and group idiosyncrasies that (as stated above) few other so-called 'avant' trumpeters have followed up on. Shorter was something else altogether--to my ears, anyway, a perverse twisting of the hard bop vernacular with a more directly 'anarchic' intent (a total turn on his brother, who went in the opposite direction and got more harmonically complex). It's arguable that their respective trumpet sounds acted in service of these concepts. As far as the 'strain' is concerned--any technical limitations immanent to Cherry's abilities are far, far more pronounced in the 80's, when leadership and multi-instrumentalist duties (among other things, including the obvious difficulty in maintaining brass chops) took their toll. 'Prime' Cherry's tone seems more like the result of accumulated liberties than faulty chops (to me, anyway). Regardless, when he was in the late 60's/early 70's and smoking, it's doubtful whether (tone control notwithstanding) any of the apparent school of early 'avant' trumpeters could diminish him in a harmonically free context--his later Ornette recordings (especially Science Fiction) and classic solo sides certainly reinforce the notion. Maybe it's just me, but there seems to be a greater diversity among the earlier avant trumpeters (in addition to the above, I'm talking Eddie Gale, Dewey Johnson, Bobby Bradford... and later, Earl Cross, Jacques Coursil, Lester Bowie, etc.) than saxists. Just a thought. On the first post--Steve Lacy once said something about Cherry being the more 'free' and unencumbered of the Ornette-DC dyad. It's always been a curious statement to me, and I'd love to hear more 'primary sources' speak up about the differences between Cherry's formative improvisational ethos and that of his former running parter.

Handy owns Ah Um, although I somehow feel as if he came off better on his leader sides (perhaps it is because he is the more conservative voice on many of the Handy group sessions, counterbalancing some of the more 'avant' younger cats). Again, I really, really need to hear this one again (stored in my LA home), but I tend to like many of these originals better elsewhere (mainly because of Dolphy, who provides the main attraction not only on the big band 'Hora Decubitus' but also the Antibes version of 'Wed. Night Prayer Meeting'--Booker is arguably more effective on those sides, too). But--the more obscure tunes on this set knock me out. 'Moanin'' is (I agree) a total classic--and I need to give Pepper his props!

Don Cherry Henry Grimes Ed Blackwell

I'm frankly happy we have so much of Reid available, but I agree... How about more material from frequent running parter Charles Tyler... and for that matter, the legendary, undersung Earl Cross? (ep1, who can't stop proselytizing...)

This is recent Marion Brown, right? I know he's been through a lot of trauma--how does he sound?

I'm not entirely sure that the cast here assembled is of the sort that would (perhaps could) attack Hill's music with the level of harmonic intricacy and exactitude found in Andrew's personal interpretations. Having seen and been taught by a few of these individuals in various contexts, I'm interested in hearing what they would produce, using Hill's material as a springboard. We've had straighter interpretations of Hill's music before, anyway (such as the Braxton albums on CIMP). Regardless, every time I've heard someone approach Hill's music with a more or less repertory faithfulness without the maestro in the driver's seat, I've felt something lacking.

I got Demon's Dance (although I'm so blasted I ended up falling asleep through the middle three tunes on my first spin). Sounds good--high caliber Jackie, with Woody Shaw in fine, authoritative form. Jack DeJohnette opens things up nicely.

That would be my recommendation too. Ditto. That is the track ("Famous Alto Break") I play for folks when I want to convey what Charlie Parker was all about. The Lee Morgan track gets big points for sheer exuberance As many versions of the tune as I've heard and love (the Messengers version off the eponymous album, Rahsaan's almost subersive smooth groove treatment, the blistering, harsh Elmo Hope version with Gilmore), I'll never get past that Dial version. That break is miraculous (and I dig the guitar/piano doubling, so...).

None of the Berkeley or Oakland area music shops have a copy. I was all ready to buy one, too...

time for the if you could only keep one Green (Jones, Davis, endless possibilities) in your collection which one would it be thread... (Grant Thad Lockjaw for me i suppose) Grant, Boogaloo Joe, Lockjaw for me. (Just as well you didn''t mention Smith.) MG I had thought of Smith before Davis but had thought it to be a sacrilege to admit Elliott on an organ site I can't choose at all. Think I meant Grant, too, by the way (sad to say I'm far, far too poorly versed in Bennie to shoot superlative breeze...). At the same time--I'd like to hope that the Kenny Cox makes it, too.

Green really, really shined with strong tenors.

Henry Grimes Charlie Haden Wilber Morris

More than that, I'd say that all of Mingus, Mingus... is relatively tame, despite the terrific arrangements and soloing. I just can't get over the total a-bomb of Dolphy showing up outta nowhere, ripping the band a new one (and why was that his only solo on the record? Wasn't he in the midst of medical problems at the time?). I'd like to listen to this one more (my copy is hundreds of miles away), but I remember feeling that it lacks some of the mayhem and whimsy of the other Atlantics. For what it's worth, Blues... does have some of the hardest arrangements in the Atlantic cannon, and it's a lot less jocular and far more no-holds-barred than, say, Oh Yeah. For nuance, though, my favorite is The Clown--not as dense, but the highs are really, really high, and the group seems more bent on groove and lyricism than the fabled Mingus craziness.

Thanks. And that is the Rashied album we've been talking about--although there are only two tracks. Altogether unique for a post-Coltrane album--not very 'post-Coltrane' at all, in fact... more like a blend between the BYG/ESP lo-fi sound and the more refined downtown music of the 80's. Again, a beautiful, shambling mess--but when the fireworks come, they're quite hot.

Waiting, as I was, for this thread to pop back up: Yesterday, at the SF Amoeba: Steve Lacy & Steve Potts: Flim-Flam Roscoe Mitchell: and the Sound and Space Ensembles King Ubu Orchestru: Binaurality Chick Corea: The Song of Singing Paul Rutherford: The Gentle Harm of the Bourgeoisie Noah Howard Quartet: Live at the Unity Temple

I'm a fan, although I admit that Blues & Roots has been overshadowed (in my mind) by a lot of the other Atlantics. What it accomplishes in the way of mid-sized group mayhem is astounding, but I sort of feel that this is par for the course (maybe I should listen to it more...)--if only because Mingus of this period is so consistent. The edits also piss me off (but that's with essentially all the Atlantic sides, so...). Any way, some fine blowing and excellent compositions--although I prefer the 'Hora Decubitus' version of 'E's Flat...', replete with apeshit Eric Dolphy solo.

Rob Schneider Susie Ibarra Denardo Coleman (!--to those who know what this trio has in common)

Whoa, whoa--what stories? (in full knowledge of the maelstrom this may unleash)

That is an excellent list.

Happy to see the Ornette and Hill coming back into print... and interesting, if (probably) unnecessary choice with The Spoiler--been available for a while (cycles through the used bins, anyway), and nowhere near as good as Rough 'N' Tumble.

This just reaffirms my disappointment with the LA jazz scene. I can't help but think that, elsewhere, it would be easier to coordinate work prospects for (inasfar as concerns people who would seem to know) a living legend. Where the LA scene exists, it's in bits and pieces; and there ain't no steady prospects nowhere. Most of the great LA artists and up working out of state or on the university circuit; those who remain are forced to play 50's/60's-era hard bop in your typical Blue Note vein. Sad, sad state (and I'm from there--ain't no steady play). Best of luck and wishes to Charles--wish I/we could do something to help him along (and get him kicking ass again!).

Just like the Frank Lowe thread: I recommend Duo Exchange. Maybe it's just because it's recorded so hot, but there's energy to spare on that one. I've been studying Rashied Ali Quintet recently--early James Blood Ulmer on that one, with an appearance by Earl Cross. There's some terrific blowing, although the main attraction (for me) is the unique, strangely grotesque group sound (shambling rhythm section, choppy guitar, horns just floating above it all). As a sideman: Rashied is awesome on Touchin' on Trane (the Charles Gayle album)--more Elvinish than in the late-Coltrane days, but with fun to spare. He's also great on Shepp's On This Night, Alan Shorter's Orgasm, and (IMO, though many may not agree) Jackie McLean's 'Bout Soul (also a fan of his work with Marion Brown). Those are off the top of my head, though, and I'm sure many others will remember even more. I saw him play at the Jazz Bakery a couple of months ago, in fact; he was down with Sonny Fortune, and they played a single tune a set (i.e., hour plus on 'Love for Sale'). Both of them have power to spare--fun to see these legends on the scene, venerable as they are, continuing to develop and challenge themselves. I think Rashied's become a better drummer, in fact--and he's a swell guy, too (talked to him a bit).

I just got a copy of The Song of Singing today, and I like what I hear.