ep1str0phy

Wings Hauser Tim Hauser Homer Lisa Miller Dave Nelson Matthew Brock

The Trip is relatively new for me, too (just the past few weeks...). As has been noted elsewhere (I think the Penguin cats commented on it), the rhythm section seems strangely detached at times--at worst, jarringly incoherent. Elvin, in particular, often comes across as a little strangled--like a train struggling to build momentum, exploding in starts and fits. It's Pepper who really carries this recording--a pained, pioneer spirit driving through the ensemble like a muscle car. At best, he acts as a galvanizing force... and when it's good, it's stunning (as on the original version of the title cut). Although I'm not terrifically fond of the sideman work on this date (more for the seeming incompatibility of the rhythm team), the 'spirit' of the album is very strong. Worth returning to, no doubt.

I wouldn't try it (notwithstanding the Kenny G thing)--guess I'm a little two wary of those tiny little perforations--not always visible--on the edges of the shrink...

Many blessings! Nice to know that one of the true firestarters of 60's post/hard-bop is alive and kicking--hopefully there's a lot more fuel to burn... and someone get this guy back on more high-profile gigs! He's been wonderful where he's had the chance, as of late (e.g., Billy Bang's Vietnam: Reflections).

Happy Birthday, Buddy. And to add--thanks for blazing those trails.

Thanks for the words, Morganized--I'll look into it first (although it's gotten good reviews from people I trust, and I'm not completely averse to the whole Blakey-bag thing...).

Snickers Baby Ruth Reggie Jimmy Garrison Art Davis Steve Davis

That's on my reading list--what do you think?

Ritual Beating System has some tremendous Brazilian/Afro-funk work on it. Herbie Hancock and Henry Threadgill also make appearances--get it now (and note--this is a Laswell album, so expect the expected).

No wonder the original Blue Note LPs are becoming so hard to get and so expensive over here these days ! There's a bit of coverage of this soul jazz DJ thing on the 'Jazz Britannia' TV series that the BBC did some time ago. All started up around 1982-83 with jazz-influenced groups like 'Rip Rig and Panic' and 'Pigbag' becoming popular with the dance crows. Heck, I even remember Pigbag doing a jazz freakout on 'Top of the Pops'. Wasn't Sun Ra's 'Nuclear War' on Y Records also popular with this crowd? A couple of others that you wouldn't expect to be popular were Pharoah Sanders' "You gotta have freedom" (not sure which version), Dizzy Gillespie's "Mas que nada" and Gigi Gryce's "Minority". MG On somewhat of a tangent: I've been shocked at the ongoing, if unlikely popularity of "Minority." I picked it up in a University combo a while back and it became a staple--harmonically simple, driving, and catchy as hell. Considering the relative obscurity of the tune, I'm surprised that it has made the rounds in such a manner--a sleeper classic? (P.S.--thanks for the recollections, guys)

I'm a sucker for LA jazz, but--for whatever reason--I've been holding out on this one. Maybe it's time... Even if it is more 'straight-ahead' than what we're used to from members of this crew (Tapscott included), I trust that this is hardly the run-of-the-mill, Blakey-esque hard bop affair that these sort of things often devolve into (?). Tapscott's earlier mainstream work (such as doing the charts for Sonny's Dream) boasts a sense of intelligence and mystery that cannot be denied (but he's not the dominant voice on this session)... There's a heaviness, a weight to a lot of earlier LA jazz (although this album is pre-Riot...)--for those who own the album: what's the emotional tenor of these sides?

That's an astonishingly good call that hadn't even crossed my mind. Costello's all over this thread--a master of melody, even at his less complex; there's a treasure-trove of material to be had there. -Lonnie Smith did the Beck songbook not too long ago, right? There's some excellent material in the B-sides(e.g., 'Totally Confused,' 'Brother') that a talented improviser could make hay with. -And Jack Bruce's back catalogue--all of it.

Sonny Fortune and Rashied Ali are playing the Jazz Bakery (LA) next week--four day stand, and I'm there. This weekend is the Central Avenue Jazz Festival (in South Central)--a community-based, tented, open-air sort of affair; there's a good lineup--bright moments to be had. Maybe I'll drop in Sunday.

I may have to look into it now--never had a problem with Wilkes, and I'm curious as to where the controversy stems from. On a (lighter) side note--it's nice to see the dumbfounded reaction on the health nuts's faces when you talk about the AEC/Odwalla connection. My girlfriend just stares at me every time.

Moondog: The Viking of Sixth Avenue Elmo Hope Ensemble: Sounds from Rikers Island Dexter Gordon: Sophisticated Giant Alice Coltrane: Universal Consciousness --and-- (after hearing so much enthusiasm on this board and elsewhere): Can: Tago Mago

Portions of LA's San Fernando Valley are blacked out. Many, many power grids (including may family's) are out. The power company can't keep up (there's probably a class action suit just over the horizon). We've had to rent a secondary residence (read: hotel) to sleep through the night.

I dunno--I've been more impressed by the Paris material I've heard (slightly 'rougher' in approach) than the Half Note sides. There's no doubt that the HN material is consummately played--and these are top notch musicians--but there are times when the improvisations feel just a little too logical, the lines a little too finely hewn (bordering, at worst, on facile). Next to the HN sides, Paris feels like a tightrope walk--hard, imperfect, and risky. I think Wes is at his best when he starts to think outside of his time-worn--if virtuosic--patterns (e.g., 'Impressions'--geez! Nice when the changes are a little more oblique...).

Bill Laswell Sirone Charnett Moffett

Oddly enough--I think that tune may be instrumental in turning my girl over to avant jazz. A fine treatment, no doubt.

I've certainly never listened to it more than a couple of times, but--for what it is (what it is being straightforward, stridently commercial, jazz-informed pop)--it ain't that bad. I'd take Bobby slumming over some hack at 100% any day of the week.

...and that's a man whose unbridled enthusiasm and championing (ala Watson) are legend. If nothing else (to follow Allen's point, as the conversation has debated), we're left with an instructive case regarding how not to conduct oneself in the realm of music criticism/history. And his perspective is (arguably) not without merit--the 'Black Nationalism...' book assembles some strong contentions regarding industry/trade prejudices. And he's sorta bottom barrel... ...now, do extra-musical factors even exist? The debate rages...

Malachi Thompson John Hicks Hilton Ruiz

WC is burning. Had to nix a trip to 29 Palms with my sweetheart 'cause the heat is in the triple digits--oh, and shit is getting struck by lightnin'.

I have a copy for review (actual review forthcoming). The summary: fine, pungent Wheeler in a romantic mode (an obvious ancestor is Miles with Gil, but the harmonic language here is 100% KW). Not as dry and forbidding as some of the recent ECMs--quick and light--but there's certainly some depth.

Damn it--I think I bought the Hutcherson for two dollars more than the DG price. Bastards! Another thought: Expansions got a pretty decent CD issue with BN (years back)--how many of these were also released by the original labels?