ep1str0phy

Leena was great when I saw her with Parker a few years back. Beautiful and powerful voice that was unfortunately teamed with Amira Baraka rants. The grooves on that Parker album are just so tough the vocals do get a little obtrusive. Again, wonderful voice, great band--but everyone seems a little stifled by the ten minute+ hypno-rants. I love listening to Parker ride on the rhythm, but harmonic stasis/poetry reading is a little tedious after a while.

It's far, far subtler than "Dusk"--and more oblique, I'd say (it reminds me of "Blue Black" at times). Like JSngry said, "beautiful" is the functional term--it's got a lilting, lyrical quality, far less exigent than much of "Dusk" (there isn't that mutch straight-up "barn-burning" here).

I've got some family flying in this weekend so I'll try to get the book. I think the lineup may have been a little more "Ornette-centric" (It may have been Moffett on drums, Haden on bass, something like that), but--whatever it was--I was kind of floored when I saw it.

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Thanks. My ass has been kicked.

Charles Tolliver Freddie Hubbard Woody Shaw

Sounds like you got some really, really good shit. Wanna share? Honestly, I'm positive this info is in (some) widely circulating book--maybe not a discography--maybe a brief in-text mention. I'd scan the Litweiler book, but (again) I don't have it handy. Unless I was hallucinating again (and this thread started up months ago).

I'm pretty shocked that no one feels like talking about this one. Then again, this is hardly groundbreaking material--which isn't to say it's bad. Andrew's couple-decade-or-so holding pattern has allowed for a series of personal innovations, the communion of which has culiminated in a wholly original post-bop style (heck, Andrew might qualify as a "sub-genre"). That being said, the essential musical characteristics of what we're hearing on "Time Lines" have been gestating since as far back as the later Blue Note sides. It's become increasingly apparent that the tensile, explosive style of the early BNs was (more or less) a larval stage--very much a product of its time and (the artist's) personal circumstances... which is not to say that the "mature" Hill can't produce urgent, powerful works (I think the Japanese sides are a testament to this)--only that we'll never again hear the same sensibility that characterizes those "classic" 60's albums. I appreciate "Time Lines" as yet another showcase of just what a mature, venerable artist can produce--nothing monumental, but beautiful nonetheless. Leave the blood to the hungry, I'd say... it's nice to hear that the cat has "settled" into a groove.

Wha?!? This is listed in some book, although I don't have access to my library (at the moment). I forget the rest of the group, although I'm pretty sure it included Jimmy Garrison (and probably either Bobby Bradford or Charles Moffett on 2nd brass--after Don, of course).

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That's what I've heard. Touche. Frankly, I'm surprised this AOTW hasn't incited more discussion. I'd contribute more, but my copy of "Far Cry" is stuck in LA somewhere (although it's really just a couple of postage stamps away). I might call "Far Cry" a prototypal ED date, but there are just so many unique edges. Again, Dolphy's Prestige/New Jazz sides were startlingly consistent... invoking one album just implies the next. The first cut is played on bass clarinet--a fragmented, loping chart... anticipating "Out to Lunch," perhaps? It's touches such as these that lend a great deal of coherence to Dolphy's recorded legacy, as sparse and contracted as it is--he was always sort of "out there," wasn't he?

Although Spedding is certainly among my favorite guitarists in brit fusion, I find his more self-effacing work to be just as enjoyable as his "explode over the wall" episodes. He can be a terrifically nuanced session man--ala "Harmony Row" or "Songs for A Tailor"--without ever really stepping out... although that stuff is almost always gold (I'm a big fan of the Battered Ornaments albums). On John Marshall: a favorite of mine, especially w/Graham Collier and Jack Bruce--remarkably rhythmic, in the pocket where necessary. At the same time, I get this sense that the majority of these prog rock percussionists have a difficulty extending the beat; even with a guy like Jon Hiseman (who had a lot of the Elvin Jones stuff down pat), there's this pervasive sense of "metronome time." I guess "groovy" is the operational term, but it can be a drag sometimes.

I can't even begin to comprehend how wrong all of this is. No--"wrong" isn't the word--I'll go with "perverse."

(Take this or leave it.) I have seen exactly 1 mini-LP copy of "Here & Now" at either the Berkeley or LA Amoeba locations. That was a while ago (my memory is shoddy) and the CD has long since been purchased... but if any pseudo-major chain store can get you a copy (on the WC, at least), Amoeba may be your best bet. The mini-LP of "Eternal Rhythm" isn't that rare, and the decent-but-could-be-better jewel-case MPS reissue from somehwere over a decade ago makes the rounds in the used bins (I'm happy with mine). Good luck!

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Not "jazz harp" per se, but some fine moments by Lois Colin on Pharoah Sanders's "Rejoice." Nothing extravagant, but moving nonetheless (a successful integration of conservatory/improv techniques more than a full-on jazz idiomatic thing).

If I recall correctly, he was born in 1930... so 76, I guess. I'm so tuned in.

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It couldn't have been Prestige, since he made several records for them. Could it have been Blue Note? Naw... Ornette recorded some cuts during the Blue Note heyday--and he was/is pretty clean, right? I doubt cats like Sam Rivers would still be appreciative of their BN legacies if the label were up to such unsavory dealings.

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What an inspiration--and such an astute mind! It's nice to hear about all this from Walt's perspective--a living testament to integrity in a not-always-wholesome music.

I've been listening to the Lowe recently. On first listen, I felt as if the tunes were sort of "monochromatic"--your regular theme/solo/theme fair with your stock and trade free blowing interspersed. Hearing it again (after a matter of months), it's a completely different story. This is a recording that rewards repeated/close listenings--a nuanced, powerful performance by an obscure and wonderful group. This is a top-notch post-Ornette combo--the sort that was stretching past the melodic innovations and into something a little more involved. Lowe is at his incendiary best; the band cooks; the improv is tight. I like this one a lot (almost as much as Black Beings and the best CIMPs).

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