ep1str0phy

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.

The Black Saint album is a favorite of mine. This is perhaps my favorite of Tchicai's post-post-Ornette-alto-phase albums--a subtle, simply beautiful album. Tchicai has a decisively 'electric' aesthetic, and it shows through the proceedings--there's hard groove, beats, and bottom everywhere. The difference is in the relative sensitivity of the ensemble; there's a slight sort of delicacy to the album, as if the instrumental transparency were letting some light into Tchicai's brighter, less brazen spots.

Butler also produced Lee Morgan's "The Last Session"--sort of uneven, but not a failure by any means (and the band is terrific). It's one of Lee's more progressive dates, any way you cut it.

Extremely sad, but I'm not entirely sure how to react to this. This does seem like one of those die-by-the-sword moments. Regardless, my condolences to his family, friends, and fans. He was a bright personality.

Dustin Hoffman Dustin Diamond Dustin the Turkey

I'll be damned if that didn't well me right up. Thanks for showing up, man.

My sister loves that band. Please post her cell number for interested parties. Not after the last boyfriend.

My sister loves that band.

If I weren't so depressed about Dewey leaving, I'd be a little more enthusiastic--so here goes: -'Duo Exchange' is terrific and on CD. Some of Rashied's heaviest work. -'Black Beings' is some explosive shit--some of the hardest post-Trane free blowing on record (although not very dynamic). -I'm a huge fan of the CIMPs, although they're not as explosive as the earlier sides. A lot of sensitivity here.

In Dewey's memory, I'll refrain from using the expletive I feel like shouting. Both his solo work and his classic, classic sides with Ornette were instrumental in my upbringing. Thank you, thank you, thank you Dewey. I'll be spinning one for you.

I'm glad there are people here with brains who can help me to remember things like this. Have either of you heard this album? I'm just asking because if you haven't, and are expecting some "typical" Jack Wilson fare, you might be disappointed. It's a good album, but it's a lot more "commercial" than Wilson's other work. That's certainly a shame. I'm a huge album of Wilson's other stuff (even the slightly 'groovier' sides).

As long as it's up--how is that Holland/Phillips album? I've seen it everywhere, but I'm somewhat tentative on what seems (up front) like it could be mismatch.

I'm fairly convinced that this is one of those 'high wall' albums that it's sometimes just too difficult to scale. Even if the following statement does sound terrifically elitist and maybe a little condescending (that's certainly not the intent), it takes commitment to appreciate Machine Gun. Once you can get past the mass of sound up top--and the unmitigated heaviness is sorta frontloaded on these cuts--there's a lot of fun, humor, and joy. It may be best to buy this one, listen, take a deep breath, and then come back. As in CT's case, coming back to it after some time certainly takes off a bit of the edge. What's left is a very, very fine Euro free jazz/improv record.

High Frequency, High Frequency, High Frequency... Also (less forceful on this, 'cause I know it's going to happen) the Change date.

Great footage--thanks for picking it up!