ep1str0phy

As valid as all these questions are--historically, sociologically, musicologically--it's shocking how few posts have acknowledged the apparent snarkiness of youmustbe's comments (where is that guy?).

Philip Marlowe Linus Larabee Rick Blaine

Tones for Joan's Bones is a phenomenal record--the sort of combustible, hyperactive post-bop that flourished in the wake of free jazz and the early crest of fusion. For what it is, it's a prime example--and some of the tighest, most high-energy music Chick ever released. Excellent compositions, kick-ass arrangements, and phenomenal playing (Joe Chambers smokes on these late 60's albums). I only regret that the versions I've heard--all on CD--sound like they were recorded in fishbowls.

Got to say--I saw Costello with the Charles Mingus Orchestra, way back when he was just getting his lyrics to Hora Decubitus worked out. It was a pretty successful collaboration, and the band was on fire (a fine Haitian Fight Song, if I remember correctly--and they did a wild version of Costello's Chewing Gum). I picked up 'My Flame...' just to hear some of these lyrics set to wax--honestly, though, I thought the CM Orchestra arrangements were much, much better--no gloss, pure grime. I think Costello works best in more intimate environs, anyhow. Your mention of ...Detectives jolted some memories--we got the same sort of 'Bernstein-esque' treatment back at the Royce Hall concert.

If he is leading the large ensemble, there's always the possibility of new releases--seems like something he does, anyway. -But--he'll be showing up for the SF Jazz Festival pretty soon (I think that Nels Cline group is popping up, too). I'm very much there.

Miles smiles! (and a crocodile at that...)

Happy birthday, indeed. I'll see if I can listen in (may have to work the night away)... regardless: here's hoping for years and years more of light, love, and improvisation--our generation is still reeling in the shadows of the greats, Roscoe among them.

Pink Floyd Led Zeppelin Jethro Tull

As long as we're on Schoof (?!)--Is European Echoes worth picking up? The lineup is excellent, but I'm wondering what differentiates this from the dozens of others with similar personnel. It's making the rounds at a reasonable price...

It's pretty good for a boot, but I think a lot of cats would be pissed to find out that this was the real sound (especially considering how little we've heard from Ornette for a while)...

Frankly, I'd be interested in knowing what you did get.

Someone has to tally how many random message board threads have been devoted to these things... (still, though--that Auld cover is truly terrifying)

The MC5 Phil Ranelin Wendell Harrison

Joe is in excellent form, although--at the same time, and you may not care--this is some of Hill's most interesting writing in a relatively more accessible vein (i.e., the structures come across as marginally less oblique, and the swing is a lot straightforward). This is, for the most part, one of the closest things to a classic hard-bop blower Andrew has ever put out under his own name. Any way you cut it, the blues stuff lights a fire under everyone's asses--Joe, Freddie, Richard, Joe... the whole lot just f'in cuts. And I agree with brownie--Joe is as interesting as ever on his Andrew sides. That cat had some sick phrasing.

Kurt Cobain Rahsaan Roland Kirk Sonny Rollins

Not at all familiar with this material--thanks a bunch!

Yeah, I remember that. Nothing seems to have come of it, according to AMG at least. The few titles that were out several years ago are all I see. I thought Afrodisiaca was reissued, but no evidence here... Wow, is that several years already? The latest ones I saw in stores were all even more mainstream (Oscar Peterson, mainly, some with Ray Brown and/or Milt Jackson) than the earlier ones (Mangelsdorff, the Koller ones, Dauner, Jankowski etc.). Haven't heard of anything or seen any new ones since those. Same here--and a lot of my (most of the year) local record shops get new MPSs (e.g., the Clarke/Bolands). I'd be thrilled to see Afrodisiaca out, frankly--but all I see are piles upon piles of Peterson reissues.

Duncan Hines Gregory Hines Mr Bojangles Mr. Clean Mr. Miyagi Mr. Mom

I've always enjoyed Campbell's contributions to the album--rough and somewhat unstable, to be sure, but an effective antidote to Patton's dazzling control and Ulmer's (still nascent--if already unconventional) discourse. He may be my favorite part of the album: a cherry bomb in the cake. There's something vaguely Rahsaan-ish about his timbre on these cuts, and his phrasing and sense of dynamics are strikingly advanced (in an 'avant' sort of way--hey, it was about that time...).

Ernie Ford Abe Lincoln Joe Dodge Jerry Dodgion James Spaulding Frank Foster

Although I despise flatwounds, it's a purely aesthetic decision. There's a level of gloss and sheen to the flats that just doesn't jibe with certain approaches--I need some roughness, man. So much of it is personal feel--the flat-round thing is, in part, a tradeoff between velocity/smoothness and grip/grit. Flatwounds are, indeed, quite smooth (at the outset), but--over time--they develop a sort of overslickness (that's not a word). That's my take, anyway. On the matter of gauges--a customized set of rounds, generally 12-56 (or heavier--I replace the default 3rd string (26) with a 16... allows for easier bends and no breaking, if you know how to control the tension variance, tuning problems, etc.).

Charlie Parker Charlie Rouse Charlie Barnet

That's an extremely formidable lineup. Nice to see Herbert Morgan in there.

On another binge: Sonny Rollins: Plus Four Cannonball Adderley/Bill Evans: Know What I Mean? Santana: Welcome Art Ensemble of Chicago: A Jackson in Your House/Message to Our Folks Roswell Rudd: Roswell Rudd Yusef Lateef: Eastern Sounds -Ran me pretty cheap, too.

Any way you slice it, that's a helluva group (many of whom are old pros at the crossover stuff).