ep1str0phy

Easy to forget, having been released so early on. Very glad to see Grachan back in action--and with a top flight band, to boot! A fine trombone player, an icon of modern jazz, and easily one of the most interesting, idiosyncratic composers of the last few decades (it's a pity his output has been so minimal)... Grachan's always been a favorite, and I certainly hope that he records more in the future.

Strong commendations for the Free America Series--both musically and a commercially. After years of shoddy/inconsistent BYG reissues, the haphazard handling of Black Lion, Freedom, ESP, and Savoy albums (to name a few), and--now--the unfortunate "autopilot" to which the Impulse catalogue has been subjected, Free America has provided a shining example of how to package, market, and respect early free jazz (granted available resources). At no time in recent memory have I been so comprehensively impressed by a single reissue program--and what great music! When all is said and done, it's enough to glory in the fact that major companies are capable of understanding that avant-garde jazz can (and, at its best, invariably is) a music of art, culture, and class. Bravo.

Rats. 2005 isn't over yet. And I still want those late, late Coltrane sides released.

Christ, 2005 isn't done yet. On a side note--Marion Brown on bells? Come on, man.

I recall hearing of a (recorded) Trane date with Ornette on violin, although I may be thinking of the above. Coleman does have some personal tapes with Albert Ayler on them--again, sticking to trumpet (admittedly, I'd be psyched to hear Ornette's brass up 'gainst that classic Ayler wail). More to the matter at hand, Coltrane did (sort of) study with Coleman in the early 60's; I'm sure Coleman has some tapes of those personal meetings/jams (alongside the never-will-see-the-light-of-day Joujouka sides and those "original" quartet cuts from the late-70's).

What a trailblazer. Courage is right... courage, gusto, and joy. Seldom have I heard a musician--a guitarist--so insouciantly brave, uncompromising. As one in a long tradition of improvising axmen, forver chafing at the laws of principle, I'll always cherish those jagged, acidic lines. Here's to a liberator, one of the greats... the proverbial twanger just lost one more string. Edit to second recommendations on the "Improvisation" book--looks like a good time to break it out. Truth is marching in, baby.

A pity this date couldn't have been recorded better... I've had this CD for a number of years, and the sound is appalling. Fidelity concerns notwithstanding, this album has some of the finest JC Quartet playing I've heard--and Dolphy is, well, Dolphy (always welcome). It's doubly regrettable that the Dolphy/Trane partnership never got its proper due (recording-wise, canonically), especially considering the sheer quality of these performances. The two horns sustain an inhuman degree of energy, catalyzed, propelled by a superlative rhythm section. Dolphy's alto, in particular, is just diabolical--he's Coltrane's ebullient, luminescent foil, weightless and bright where his doppelganger is heavy and brooding. The spirit is infectious. Listen to the flute entrance on "My Favorite Things"--such passion, joie de vivre. This is definitely one of those dates where the music transcends the "listening experience." Sorry, had to gush.

Re: Judgment... definitely a scorcher. Surely my favorite vibes/piano quartet (anywhere)... has to be some of the most energizing, organic group interplay ever recorded on Blue Note (sorry to slide off-topic). On the matters at hand--I would have loved to have heard Stinson play Hill's music. There aren't too many bassists who wouldn't sound (rhythmically, harmonically) redundant in that context--he was/is one of them.

Ain't it the truth. I've seldom heard a better reason not to have a bass around.

A stunning, affecting album. Surprisingly direct, granted the title. In my opinion, this album bests "Happenings" as the best Hutcherson/Hancock quartet--there's just more adventure here. There's a definite sense of "emotional intution" about the combo work, bolstered (as others have pointed out) by Stinson's potent, supple basslines. All of it is worth hearing; some of it is just heartbreaking. Eminently enjoyable, if not as outright mindblowing as some of Hutch's other Blue Notes.

All great albums. I just recently got into the Morgan, although I've had it for some time. There's a wonderful sort of "lyrical mystery" about that one--dark, intelligent, heavy.

I go through periods of intense listening, but there are few albums that I return to year 'round. That being said, these got a lot of play: Cannonball: Mercy, Mercy, Mercy Air: Air Mail and Air Lore John Coltrane: Crescent Coltrane/Ellington: " " Eric Dolphy: Last Date Andrew Hill: Dance with Death Frank Lowe: Lowe-down and Blue Jackie McLean: Right Now! Oliver Nelson: Blues and the Abstract Truth Ike Quebec: Soul Samba World Saxophone Quartet: Dances and Ballads Frank Wright: Uhuru Na Umoja Lots of Art Ensemble (especially Nice Guys, Phase One, and Les Stances a Sophie) Too many to remember, really. But these old standbys always get play: Don Cherry: Brown Rice Miles Davis: Kind of Blue Grant Green: Street of Dreams Herbie Hancock: Speak Like a Child Andrew Hill: Judgment Ornette Coleman: SOJTC (Rahsaan) Roland Kirk: I Talk with the Spirits " ": The Inflated Tear Jackie McLean: Destination Out!

I'm a huge fan of his work. He will be missed.

Man, I remember when "Space Ghost" came on the air. I loved that music even before I knew who Sonny was. I actually watch Adult Swim (I guess I'm in the target demo [?]), but I'm not sure what's being referenced here. For a point of useless trivia, one of the commercial transitions features what sounds like a remix of Claude Thornhill's "Snowfall" (sounds like him on piano, anyway).

I thought this was reissued on CD on Black Lion many years ago. Might you be thinking of Coon Bid'ness? Chuck, 'Reflections' is the one I was thinking of. I know I had the vinyl of 'Dogon A.D.' back in the day. Jerry Gordon at Third Street Jazz in Philly got all of those Arista/Freedom releases really cheaply, and sold them for like $2.99. Reflections is Coon Bid'ness (and the circle of life goes on and on).

Baikida Carroll. Anyone?

I thought this was reissued on CD on Black Lion many years ago. Might you be thinking of Coon Bid'ness? Another criminally badass album. Was it reissued on Black Lion, though? From what I can recall, there were two Freedom CD reissues (the most recent one had new packaging and probably a remaster--that's the one I have). Edit to say this is the first time I've ever heard this album. And it's rocking me hard.

Listen man, I am not disagreeing with you - I would just prefer something to answer the question at hand, like whether this was insanity on Stollman's part or whether there was a major mainstream news article anywhere on Coleman around 1960. It would help, but picking at inconsistencies on my part doesn't help the question get answered, nor does claiming my philosophical ignorance help me, or anybody else on the board. We are all good at making one another look like asses around here, hence my original response, so it would be nice to redirect it to something helpful. Of course I don't know - but I am genuinely curious if someone around here could help by suggesting exactly what should go in place of the passage in question in the Stollman interview. I'm happy to alter it with something more concrete. OK? Well, there's this thing: Ornette -A little past 1960, though.

I understood that. And I have trouble with irony. Goodnight, folks.

First--this is BULLSHIT. Two--something very similar happened to me not too long ago... I was trying to clear an intersection, some cat comes out from the side (didn't see me coming, although I was fairly clear into his line of vision), almost T-bones my honda. Anyhow, quick responses prevailed... 'cause if I hadn't floored it, I would be dead by now (he took out the entire back third of my car). Anyhow, the guy wasn't drunk--he was just driving a seriously dilapidated automobile--I mean, phenomenally slow--without any insurance to speak of. To work. For his family. Teenager, by the way. To compound the unfortunate circumstances, this was his second or third accident in recent memory... and he didn't have a license. Oops! Premiums rise, that's for sure. Regardless, insurance will fight tooth and nail--that's their job, they get paid. But if this 18-year-old drunkard was driving without insurance, there are grounds for legal intervention... punitive repercussions should be substantial (in whatever sense--formal or informal). Regardless, I'm a huge fan of Mr. Ranelin's, saw him with Michael Sessions at LACMA this past summer. There are few trombonists I hold in equal esteem, and his albums have always been a joy of mine. I pray for his recovery.

Depends on whether you're Dolphy or Coltrane (as per your post above). I was speaking from the perspective of a listener, versus the artist him/herself (to which song titles are, often, eminently important). To qualify that statement, the importance of song titles to the artist can have some bearing on the listner's enjoyment (as well). Regardless, I think the issue is contentious (as you may agree). On the topic of the LPs--glad someone's been looking into it (JSngry). Anyone else listening in for this stuff?

Strange, severe things happen when you go to take a nap. Wake up and the world is a little different. R.I.P. to a Legend.

I'm not positive, but I'd bet on it. The way the layout looks, the designers probably just slapped some "groovy" looking print on a rare photo/outtake.

Christ, has no one seen this group?

Just got back from the 10 pm show (Thursday). Happy to say that I'm pleasantly surprised. Can't say that I was totally devastated, but the magic's still there. This isn't quite the rip-roaring A-Bomb of days past, but there's a definite sense of craftmanship to the group. Strong compositions, phenomenal arrangements, beautiful playing. Highlights (for me) included a wonderfully constructed tuba solo (Joe Daley), some fine tenor passages, and Curtis Fowlkes going apeshit. Hell, the whole band was beautiful (I just happened to be sitting in front of the horns). Too late to write coherently, but just enough to telegraph the love. See this band. I'd heard that the turnout wasn't too good (it was fine tonight)... this band deserves better. --ep1str0phy, basking in the irony of his previous entry... Edit--Venue! They're playing at Yoshi's. In Oakland.