ep1str0phy

I, too, enjoy 'Flow', but it's a terribly daunting listen and hardly indicative of the whole of Roscoe's bag. It's a fine document of his technique and a great opportunity to hear a stellar band, but it focuses on a rather narrow range of ideas. 'Flow' is like 'Prepare Thyself to Deal with a Miracle' (the Rahsaan album) in many ways--not just the nonstop sax improv... on the whole, it's just as much focused on a specific improvisational process as it is compositions and group interaction. Honestly, I don't think there's that much variety, although what's there is great for what it is. I would have hoped for a more "synoptic" document of the Mitchell/Christian/Favors/McCall group--immensely talented, any way you cut it.

Don't forget "Grand Max" (which isn't on here, unless I'm mistaken).

It's an awful shame that no one has commented on this one (which must speak volumes for distribution/press, etc.). This has to be one of the finest "contemporary" free jazz dates I've heard in some time. Mitchell and Aoki make a wonderful team--redolent of some "classic" reed/bass pairings (and Mitchell knows how to pick bass partners), but emotionally and rhythmically unique. Aoki's Eastern grooves provide the centripetal pull for some vigorous, far-flung "solo" work--honestly, some of the best I've heard from Mitchell (heard mainly on alto here--conjuring after-images of face paint and ethnodrama). But this is first and foremost a dialogue, a push/pull between two divergent but interrelated conceptions. There is engima, pathos, intricacy, mysticism--the vestiges of the AACM, an ethos that Mitchell has cultivated with intelligence and heart. Aoki plays with a similar air of mystery--infused, however, with an identifiably "Asian" sense of power. This is deep groove, ethnic communion, and freedom of the finest sort.

Excellent call. The Detroit cats really had something to say.

Seconded. I'll add James Spaulding. He's been around the sideman circles, but--considering his talent--he should definitely have more cuts as leader. Also--Don Ayler (who's practically inivisble apart from his brother's shadow), Jacques Thollot, Luther Thomas... and special recognition for the cats on the LA scene (not just Tapscott--Michael Sessions, Steve Smith, Dwight Trible, Nate Morgan, Phil Ranelin, etc.--just bad)

I'm just the best reader, you know? Art Pepper did "Tears Inside" before Ornette was a jazz god (although he was already quite visible).

Oh man--"RB" is one of my all time favorite compositions. Should've become an "avant" standard (though it made the rounds a bit). Steve McCall owns our asses. Haven't heard the Jarman/Moye/Pullen, but I'm very interested. Maybe I'll order it (one of these days).

I can speak for the Lowe: somewhat less explosive than his more "famous" sessions (e.g., "Black Beings"), but enjoyable in its own way. Again, don't expect a wail fest; this one is more in line with his later work on CIMP. The band--which is all star--doesn't stray far from freebopish melody/groove excursions. In fact, a number of the cuts are relatively "inside"--but hardly boring. Lowe, Cherry, Moncur (etc.) had a taste for the subtler side of the New Thing, and this album shows it. I'd say middle-of-the-road, but that statement doesn't seem to do the album justice. "Low key", perhaps?

And Ravi? A chip off the old block. ← And just like with Don, it works.

(So long as this thread's still up...) I just recently acquired a copy of "Strange Serenade" (Andrew Hill-Soul Note). Alan Silva makes an excellent appearance on bass (not so much a background voice--more a piece of melodic counterpoint) and Freddie Waits--whom I've never heard in this sort of pseudo-free context--is stunning. This album feels a lot "freer" than the Blue Notes (to which I am far more accustomed), and there's very little in the way of "traditional" swing. Regardless, there's a definite sense of propulsion to the trio--seemingly, a one-off deal with a substantial amount of potential. The group really gets a chance to stretch on some startling, evocative "mood pieces"--some of which also appear on the "Test of Time" records. I may have to listen to this one again, but I think I like it more than a lot of the BNs--beautfiul, weird, wonderful stuff.

Sounds like a good recommendation from a poster I'm coming to have a lot of respect for. I've never heard of this album or of him. Is it still available? Details. please! ← Reciprocated. I don't know if it's in print, but it's certainly still available. I've seen it all over the cut-out bins (which shouldn't be an indication of quality). It's real cheap on Amazon: The End Of A Century If I remember correctly, the cover has David in a black suit with a head-mic. It looks sort of cheesy, but the music is sincere. I'm actually somewhat surprised that a jazz-oriented Cherry hasn't been making the rounds (I'd love to hear him in a group with, say, Denardo...). To summarize--good album, great personnel, very capable playing. Be warned, though: if I recall correctly, there's a lot of melodica.

Have you heard this thing?

A relatively big pull--and for cheap: Build An Ark: Peace With Every Step Khan Jamal: Cool Abdullah Ibrahim: Banyana Ike Quebec: Heavy Soul New York Electric Piano: New York Electric Piano Marion Brown Quartet: Why Not? Roscoe Mitchell Quartet: The Flow of Things Joe Zawinul: Zawinul

I have a copy of "The End of a Century," which (as far as I can tell) is the closest David's come to mainstream exposure. Of all of Don's progeny, David is probably the closest to the Harmolodic/post-Coleman camp (sonically, at least). On "The End...", he draws from both the 60's/70's avant tradition as well as more recent innovations in electronics and pop/rap. True to his legacy, he also breaks out some oblique instrumentation and "world music" tinges (there's a track called "Return From Codona"). Some of it is pretty nondescript, but it's nice to hear one of Don's sons engaging in the lexicon and (generally) succeeding. Anyway, Bobby Bradford, Phil Ranelin, and Ralph "Buzzy" Jones are on the album, so... I'd check it out--at least for the novelty factor. Fortunately, he has something to say.

Doesn't the same apply (to a lesser extent) to Chambers's appearance on Breaking Point (where 'Mirrors' also appears)?

I think this may have been happening with the BYGs. The last batch of reissues (what was it, Sunspots?) is still readily available on LP, but the CD issues are relatively scarce.

Didn't the Ornette quartet record a version (or two) of "Cherryco" (unreleased at the time)--mistakenly attributed to Coleman--way back before Don Cherry's solo career took off? Probably doesn't count--Cherry was already a superstar with Ornette--but it was fairly early in the game.

(waits to see where this one is going)

This one has been on my "to get" list for a while. How does it compare to the other Konitz duet sessions(/appearances)?

No, unfortunately, although they look promising. I'm with you, though--most (if not all of this stuff) needs to get reissued. It just magnifies the fact that the younger set is missing out on all sorts of great, obscure musicians--LaMont included.

Thumbs up on 'For Losers'. Thumbs even higher up for "The Magic of Juju'. 'Village of the Pharoahs' is pretty good if you like Sanders' rhythmic stuff with Joe Bonner and aren't worried about there not being much sax on it. ← Haven't heard "For Losers", but I agree with you on "The Magic of Juju". "Juju" is just about the most high octane, heavy churn Shepp on record (although it's matched by some of the BYGs). The only real problem is that it's a little uneven--the sax/African percussion romp on Side I just dominates. That being said, the other cuts are excellent (for what they are)--a little truncated, but beautiful. The charts are lovely.

...are you swingin'? Head's up--Demon's Dance is now available (Japanese pressing) at dustygroove. Hopefully it'll make its way over here (again, sooner or later). 'Bout Soul is one of my favorite McLeans, not least because I'm a big Moncur fan. All things considered, the band gels extremely well. Rashied is, of course, a dominant force, but Jackie's conception very much directs the proceedings. Moncur is great, and Shaw gets pushed out of his comfort zone a bit (with fascinating results--too bad he didn't do this more often). Special commendation to Holt and Johnson, who are (in retrospect) just about the most surprising rhythm section in all of 60's Blue Note.

Remember it? I practically lived there! Major sympathy from me here - both about the stagnation that was in the air at "our" college during the time of the fusion medusa, and about the DIYH LP. I didn't have the major experience that you had (I'll leave that for that day in the summer of 1970 when I bought Bitches Brew along with Cannonball Adderley Quintet and Orchestra from a store one afternoon here in North Texas), but I knew that I wanted more... and with it's addition to the great musical triumvirate of Body Meta and Of Human Feelings, I knew one could sooth the savage with Soapsuds, Soapsuds. Mary Hartman, Mary Hartman anybody? ← Soapsuds, Soapsuds is my favorite album of all time. Seriously, I don't think I could name something that I enjoy more. Anyhow, I have my share of maudlin, sentimental stories on that one, but then I'd be exploding this thread off topic (another AOTW somewhere down the line, maybe). Thank you for so much as bringing up what is surely a lost classic.

Bradford + Hill = Is there any word on the repertoire? Oh, and I am hypnotized by your av.

Ah--but how do you feel about the later Prime Times (e.g., In All Languages, Tone Dialing--nice to see some positives on that, BTW)?