ep1str0phy

Jackson Browne Jackie Brown Jack Bruce

As per the Sandersish theme of this thread: amen.

It was years since I listened to this album. Unfortunately, from what I can remember the cello is unbearable. There was a thread about this on the BNBB, but I could always say it again: When Ron Carter is playing the cello I can hardly understand anything of what he's doing. Ron Carter's cello playing is indescribable, and not in a positive way... At least it's not as jarring as on the Waldron sextet date. Carter is relegated to coloration duties most of the time; Dolphy is squarely in charge, and the cello backgrounds are no more upsetting than on your typical AACMish date. For heaven's sakes, it's got Roy Haynes on it.

I'll second the recommendations for 'Tarik' and 'Reese,' although (again) 'Ear of the Behearer' is probably the Redman to get. 'Tarik' is generally in the late-60's pianoless 'free' mode, although Redman's idiosyncrasies shine through at various points (the last number--can't recall the name--is 'sound exploration' of the sort the leader would later excel in)--it's among the 'less generic' of the BYGs. 'Reese', however, is prime Art Ensemble--funny, powerful, honest, and consistently interesting. Adjectives don't do it justice.

Switched-On Bach. Really?

Agree with you on 'Jewels of Thought' and 'Black Unity'--the latter is among Pharoah's more cohesive long-form efforts, IMO. As for the Kofsky thing... the same thing could be said of 'Whole Lotta Love.' I've always taken the Coltrane/Pharoah-vamp relationship to be more direct influence than straight-up variation, although the opposite may be the case. I put stock in the notion that the 'New Thing' Coltrane lineage is more spiritually and intellectually oriented than bluntly theoretical, anyhow (and the 'family tree'--with cats like Frank Wright, Frank Lowe, Billy Harper, etc. is far more intelligible that way... it's arguable that the 'essence' of Coltrane's mature works is substantially more evident in the music of the later 'avant' style players than in the majority of so-called 'post-Coltrane' saxophonists--many of whom are stylistic conservatives).

Stewart Granger Mr. Green Jeans Frank Zappa (Yeah...I know he wasn't really, but what the heck!) Dinah Moe Hum Dinah Shore Dinah Washington Reggie Washington Reggie Johnson Reggie Workman

Somewhat tangential, but Session is one bad MF. His sextet (featuring, among others, Phil Ranelin) has been doing annual free concerts at LACMA. I was there last summer; it remains one of my (all time) favorite concerts--three blistering sets of powerful, heartfelt improv. These cats deserve all the support they can get. Thanks for the article, BTW--what issue of the LA Weekly is it from?

Really? Including the late live stuff (Olatunji)?

To be fair, I think Pharoah pulled far fewer punches in his patented idiom (the whole twenty-minute-plus vamp-spiritual jam thing) than his cohorts (look to Leon Thomas's version of 'The Creator...' as an example). That being said, Pharoah was one of Don Cherry's old running partners--he appeared on Chappaqua Suite, too. Frankly, I think the dint of Sanders's work with Coltrane is a direct reflection of JC's galvanizing power--he sure sounded 'out,' but Coltrane was the centrifugal force (the same could be said of virtually all of JC's latter-day sidemen). For a guy who spent the earlier part of his career with the New Thing 'masters,' it's not too surprising that his solo work sounds a little more conservative--that's his groove, and, unlike his sideman work, unquestionably personal.

Although it also wound up on Blue Note, I'm a big fan of Joe Henderson's "State of the Tenor" version of 'Beatrice.' Also: any Doug Carn cover/rendition. He's one of the few cats who can do 'Infant Eyes' real justice. And for good measure--although not entirely successful (the ensemble sounds a little thin at times--at worst, a little spent for energy), the Braxton 'Nine Compositions' date with Andrew Hill tunes is really fun. Also--the Woody Shaw version of 'Symmetry' on 'The Iron Men'.

Kenny G Plays Jazz (easy target)

The Miracles The Temptations The Four Tops

There is an upside and a downside to Funny Rat. Many people who would otherwise have missed your comments will read your post because it is in FR. Many other people will miss it because it is buried in FR and not in its own Cecil thread. All posts in all threads disappear, sooner or later. Didn't mean to sound snarky--the pace is a bit of the fun, anyhow (a real discussion, for a change). Regardless, I wouldn't call it a personal disservice to avoid FR altogether--it's the proverbial Organissimo kitchen (and stay out, if you don't want to get burned). It's hard enough to quick scan, let alone post (I'll always admire the regulars, anyhow ).

Bluntly: it's long. Cecil Taylor is a fundamentally epic experience, and any CT recording with unusual dramatic currency is enough to render the basic critic nonplussed. The composition, the performance, the small group sequncing play on anticipation. Part of me thinks that the way one reacts to "one to many..." kind of depends on the kidney of the listner--some people will be bored to tears, some folks will be on the edge(s) of their seat(s). I'm in the latter category, although I wouldn't say that the playing/writing itself is superlative Taylor--not with this band, which always was remarkably consistent. I just think the length/sequencing of the performance makes very particular demands on the (home) listener--even for Cecil. I just realized how difficult it is to navigate Funny Rat. This post will disappear.

Too much death--fortunately, this music will always have the spirit to match. RIP--a jazz/percussion great.

Eddie Moore Ed Blackwell Ed Thigpen

That's a pretty strong summation of my feelings (and, I would assume, sentiments held by lots of folks on this BBS). A note on Coles, though; as much as I love his playing, I never felt as if his absence really harmed the group--both 'editions' are equally fine (although I do perk up whenever I 'don't hear' a missing textural part or two--after a while, your ears get a little used to pyramid lines).

An interesting idea, I'd say--but hasn't the play dated a bit? I'm not entirely sure that the contemporary relevance of The Connection extends beyond its reputation/history; I'd be interested in seeing how this gets executed without playing the whole thing off like a mere repertory piece (a re-envisioning, perhaps?). I heard about the Redd gig in passing, couldn't make it out there... how did it come together, anyway? Moreover, how has he been getting gigs these past years? I'd think the savvier crowd would be a little quicker to the offers.

Jackie McLean: Right Now! RIP, Mac.

Heard about this just now. RIP, Jackie. I'll be spinning my Blue Notes tonight.

A striking, mysterious document. At this level ("One Step Beyond," "Evolution"), rankings and comparisons are a little moot--this is a level of quality, consistency, and musicality that is singular among the canon of so-called 'classic' albums. These Blue Note discs are paradigmatic 60's post-bop/avant--the gold standard for modern mainstream music, back before the usual devices got rarefied and 'old.' "Destination Out" is special for me not just because it's well-played, brilliantly composed, and excellently constructed (although it's all those things, I maintain)... there's something dark, almost subversively intellectual about it--somewhere in the area of an Agnes Martin painting--as if the sparse structures and stark, oblique improvisations are merely patterning, a mechanical context for some deeper, bluer emotional core. The whole album is like a cold road to warm, if that makes any sense--and it gets to me in strange ways. This is one session that I will never, ever abandon.

Pass. Sounds like the Abraxas, which ain't legit. From what I understand, it's just four CDs crammed into a box, nothing special and nothing extra. There were rumours of a real ESP box set at some point. ESP has been slowly reissuing its catalogue in better sound, some with extras (though Spiritual Unity is without the bonus track). If it is the four-CD's-crammed-into-a-box thing, then it is certainly not endorsed by the present ESP auspices--Abraxas (etc.) lost all support the minute the Stollman operation started up again. I'd hold off--especially because it looks ridiculously slapdash (I mean, if you can buy all this stuff cheaper in singles, what's the point? A box?). On the Slug's set--just how clean are we talking (w/respect to previous issues)? The 1st Slug's volume was my first Ayler--hardly anything else has the same magic.

The part that knocks me out is Art Davis. Art Davis. Too bad about what happened with the JaPM--that cat got around. I'd really, really like to hear him in this sort of context... the only thing that excites me more is the prospect of a Moffett/Blackwell rhythm team--now that is core.

As long as we're addressing drummers... Rob Tait, the BO (and later Piblokto!) trap man, was a bad, bad mf--the hard-lined groove of Jon Hiseman (through probably not as precise) melded with John Marshall's ecstatic fury. What happened to him?