ep1str0phy

Diedre Murray's work is often fine--especially her work with Fred Hopkins. Erik Friedlander, too (he's on lots of stuff). Dewey Redman's classic 'The Ear of the Behearer' has some fine cello on it... played by one Ms. Jane Robertson. Don't know what happened to her, but she can cook. And I'll throw it out there now--I like a lot of Ron Carter's cello (esp. on Dolphy's 'Out There'). Someone will disagree (he's often playing in microtones--or out of tune, take your pick)--be judicious.

I'll disagree, but respectfully so. The editing and the mix/EQ-ing are piss-poor, however. I agree--I've always found it enjoyable, but it's certainly devoid of the fireworks immanent to the Impulse! material (or even the BYG and America stuff). It's interesting to catalogue the devolution of Shepp's revolutionary rhetoric at this juncture--the sentiments are the same, but the music is not. Regardless, the band is top notch and the material--for what it is--is played quite well. Not a favorite, but not bad by any means.

There's a run-through for Solid sitting somewhere in the vaults (I think it has John Gilmore). Do a search--it came up on a thread a couple of months ago.

David Murray Wynton Marsalis Ornette Coleman

Smiley Winters Shorty Rogers Dirty Harry

This one is a perennial favorite of mine. 'Abstract' is a fine word... I almost feel as if you have to engage these later works on a different level than that of Trane's earlier discography--at the very least, in a different way. It's easy enough to confront the academic specifics--Trane's harmonic sensibility is, here, as advanced as anywhere on record, and his technical capacity is, of course, a sheer marvel--but far more difficult to apprehend the obliquely emotional aspects of the music. Rashied and Coltrane toy with something beyond technicality... and although it is difficult (if not impossible) to divorce such intellectualisms from the sound, the listener is invited, as nowhere before, to submerge--feel. I might go as far as to say that Interstellar Space is a 'feeler's' album; it plunges so far into abstraction (even for Coltrane, whose larger combos always provided some obvious musical context for his philosophical excursions) that the audience must surrender its 'ears'. I, at least, revel in this sense of esoteric consciousness--where all sounds, all emotions, themes, scales--all knowns are conflated--tenor and drums in perpetual, unyielding communion. Melodies, notes, timbres, colors rush, cascade into one another until all that's left is sort of infinite simultaneity; all tunes reach the same place, grasp the same heights. There's the sense that, notwithstanding the limitations of tape, this session would have gone on, and on, and on, and on... but that's sort of the point, no? It was, perhaps, Trane's greatest gift as an artist--as an apotheosis of human aspirations--to tease at something beyond ourselves.

I've long enjoyed Jeanne's duet/vocalist combo work, but I find she's particularly effective as a colorist or guest voice. She adds a moody, dramatic spark to Escalator Over the Hill that transcends the clutter and pretension of the production in toto (which is not to say that the album doesn't have some truly wonderful spots, but that's a whole other deal...). I just recently acquired a copy of Afternoon of a Georgia Faun. Her contributions are astounding--the capacity to project depth in a fundamentally minimalist manner. The pathos in her lines beytrays a supreme technical substance--which, in an oblique, somewhat 'avant' way, superimposes the rustic over impossible precision. I said (in another thread) that Grachan Moncur III is the Monk of the trombone. Jeanne's sorta like the Grachan of the voice, in so many words...

I feel the same.

As do I. The arrangement reminds me of a Morricone soundtrack.

April O'Neil Casey Jones Splinter The Thornbirds The Yardbirds Chicken Little Charlie Chan Pete LaRoca Black Arthur

I hear you--in a world where purchases come fast and furious, it's nice to know that some music is there for when you really need it. I'm sure we've all had those 'it's nice to have this one around' moments (Ornette's Soapsuds, Soapsuds, in particular, got me through a few rough occasions). Best wishes, by the way.

April O'Neil Casey Jones Splinter

I've always enjoyed Gayle's playing on 'straighter' material, although he flourishes in more 'outside' environs. His acid-soaked Coltranisms on Touchin' on Trane are some of the most consistently inventive solos of his recorded career. I may check out the above, although Wimberly can be a little heavy handed sometimes (sometimes it's a simple as weird bass drum miking.

I've been hearing some fine things about the group, although I can't locate any of their albums (anything out on CD?). I'm a fan of Watts, although I'm not entirely familiar with his 'leader' work. http://www.fmr-records.com/ Thanks--I saw a few of these at the SF Amoeba yesterday (and I'm considering shelling out for one or two).

Whoa--Sahib Shihab? How is this? Yesterday (a rare/import kick at the SF Amoeba): Booker Ervin: The In Between Pete LaRoca: Basra (RVG) Walt Dickerson: Vibes in Motion Louis Moholo-Moholo: Bra Louis-Bra Tebs/Spirits Rejoice!

As far as something 'subersive' is concerned--Wayne's had some harder joints (than 'Adam's Apple')... I was recently marveling at just how groove-heavy 'Etcetera' is--not just funky, but tough. Four-square beats are perfect foundations for 'forward-looking' jazz improv, as everyone from MMW, Miles, and even Fred Frith will attest. Some more progressive Lee Morgan work might be applicable here, and especially later Andrew Hill (something like 'Lift Every Voice' or 'Dance With Death'). And--this might be pushing it (the albums are hard to find, regardless)--but check out the Free Funk thread somewhere in recs.

Nice topic idea--I come in and out of 'spells,' no doubt. Right now I'm in a sort of inside/outside bag--60's post-bop, mostly. I just recently powered through a Mingus kick (and, before that, Anthony Braxton). Also--even while conflated with research purposes--I've been up on a lot of South African exile stuff (generally the Epistles and Blue Notes constituents). This goes somewhere back to my Brotherhood AOTW somewhere back... straight to yesterday, when I acquired a copy of the Bra Louis-Bra Tebs/Spirits Rejoice! twofer (not yet heard). In the midst of this, I've been especially engaged with any and all Johnny Dyani--from sideman work (Ibrahim) to solo material (mainly with Pukwana). It's powerful, endlessly moving stuff.

At the same time--the Sonny/Lasha 'Firebirds' co-op (name not used on this session) was technically Lasha's band (assuming leadership under different personnel). I'm assuming that it's just a matter of packaging and marketing, although it's really odd how Lasha doesn't appear on a couple tunes from his own date... I can only hope that there's some missing material somewhere out there.

pulled this one out and gave it a spin today - AMAZING!!! One of my all time favorites--no doubt. I remember the first-spin thrills--it was dull dusk, the food was warm, and I was laughing like an idiot. It was just so beautiful. I'll second the enthusiasm for the Harris album (above--brownie)--there's some fine playing all around. Any chance to hear McIntyre and Moncur is a golden one. Also to note: there's a fine version of 'Love and Hate.'

Ali Baba Baby Huey Huey P Long Harold Land Eric Dolphy Gerald Wilson

I've been hearing some fine things about the group, although I can't locate any of their albums (anything out on CD?). I'm a fan of Watts, although I'm not entirely familiar with his 'leader' work. MG--I guess I'll be looking into the Lonnie Smith...

Doug Carn's version of 'Infant Eyes.' Beautiful.

Yoko Ono Coco Chanel Poco Bud Powell Thelonious Monk Grachan Moncur III

Well, I'm psyched (hides photos of himself as 3-year-old in Superman T-shirt).

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