ep1str0phy

Squiggles, I think. But I could be wrong.

The Harper/Tolliver engagement at Yoshi's (with John Hicks, Dwayne Burno, and Roy McCurdy) was unbelievable. Tremendous playing, excellent repertoire, all that jazz... Other mentions: Gerald Wilson Orchestra (a local LA gig), Haden's Liberation Music Orchestra, and Myra Melford's new Bay Area quartet. Looking forward to McCoy Tyner's two-week residency at Yoshi's (in a few weeks). You're so lucky to live in an area that has so many options.. The closest area to me is Chicago, almost 4 hrs from where I live in good weather.. When I lived in Oakland there were always places to go almost any day of the week.. Seriously. I'm in Berkeley most of the year, and it's a surprisingly fertile environment for improvised music (not just jazz). I keep telling myself I'll get more active in the Bay Area, but I've been sidelined (as of late)--fortunately, there's enough music to see.

Which version of the MJQ?

All of "Band of Gypsys." And "Little Wing." And "Voodoo Chile" (not slight return). Jimi was both an architect and an anarchist--a real fun dichotomy. Just for kicks--favorite solo on a Hendrix tune not performed by Jimi? -Billy Harper, "Castles Made of Sand" (from the Gil Evans Hendrix album)--he got it.

He was just getting it together as a composer and as an arranger. Would Led Zeppelin have been so wounderful if Jimi didn't create guitar orchestras? I think he was a fine composer/arranger, regardless. Still, there seems to be something remarkably "skeletal" about the compositions themselves--as if there were something intrinsically "unfinished" about a Jimi composition w/o the direct presence of Jimi the artist/mind. Jimi's tunes require vision. The vast body of aimless Hendrix covers is a testament to this fact; as far as I'm concerned, the best interpretations of Jimi's songs have been performed by individuals willing to impose themselves upon the compositions (e.g., the Gil Evans stuff, D&D's "Little Wing," although some may argue). In short, I don't think that Jimi is one of those writers whose tunes are or ever were "fully-formed." In such a manner, Hendrix (himself) became the final, "perfecting" component in his work--just as invaluable as the words, the chords, the melody (etc.). I agree with you, however, in that Jimi was reaching new levels of complexity toward the end of his life (imagine what "First Rays" would have become!).

As far as I'm concerned, Jimi was an even better "craftsman" than composer--at his poetic best in the studio, toiling away obsessively. That being said, I think "Band of Gypsys" is among the greatest electric guitar albums ever recorded--"greater," perhaps, than any of his studio work. Hendrix was most impressive in the middle ground... tight but loose, so to speak. That's why my favorite Hendrix "songs" (or cuts, really) are those wildly ambitious blowouts that never fail to inspire (or impress): If 6 Was 9, 1983, Castles Made of Sand ("Axis" and "Ladyland" are unmatched in sheer intricacy, vision, and mastery) It's all worth it, though.

The Harper/Tolliver engagement at Yoshi's (with John Hicks, Dwayne Burno, and Roy McCurdy) was unbelievable. Tremendous playing, excellent repertoire, all that jazz... Other mentions: Gerald Wilson Orchestra (a local LA gig), Haden's Liberation Music Orchestra, and Myra Melford's new Bay Area quartet. Looking forward to McCoy Tyner's two-week residency at Yoshi's (in a few weeks).

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.