felser

Listening to CD's now. Sound doesn't knock me out, though it's plenty good enough. Packaging is pretty great. Performances are longer than other versions we've heard by this group (Morgan/Shorter/Timmons/Merritt/Blakey). Worth having, for sure.

Criss was a breathtaking player. Cannonball was a visionary leader. McLean was a trailblazer. Thankful for all of them, and my pantheon certainly has room for all three.

Sorry, didn't read close enough. Winnepeg 35 is good, thanks!

Winnepeg 39. I know nothing about CFL, just did some quick number crunching! That being said, if any of you have followed it for decades, there was a QB named Condredge Holloway who had great success in the CFL (and is in the CFL hall of fame), and I played on a youth team with Holloway in Huntsville, AL in the mid-60's. He totally dominated our league (I sat on the bench). https://en.wikipedia.org/wiki/Condredge_Holloway

There are a number of sub-boxes they could have done (live, sextet, large groups, 70's, etc.). I suggested the same to Cherry Red records in the UK. They showed some interest at first, but then went crickets.

Sublime...

You are allotted x hours of concentrated music listening in your lifetime. How many of those do you want to spend analyzing Kenny G records?

The wife played piano a lot better than the kid sang.

No, it's Lonnie Liston Smith - Astral Traveling album.

Did a nice 2 discussion set of the small group albums and a twofer of the larger groups. And Savoy had the Summer of 55 set with him and Nat. But Riverside and Capitol, who should have been the major players, did nothing. Nor did Milestone.

Please stop being his straight man, it's prolonging the routine!

I started. But had to get off at the part that told me I had to take his music seriously even if I don't like it

I have the Blue Note, Prestige, Savoy. and volume 2 of the Verve. Also a Japanese produced Riverside. Only price stops me from getting the others.

I strongly agree with everything you are saying here.

When's the last time Concord did something right with their jazz holdings? Can't think of anything since those three Trane boxes, which we believe were in the Fantasy pipeline at the time of the sale.

Chapter 3 Viva Emiliano Zapata was the big band one. And O'Farrell did the arrangements. Really good album.

Good luck on that!

First thing to do is to pay $8 to download the album from Amazon, which breaks my own rule of don't pay for downloads (I break it myself on special occasions) while you hold out for a good price on a CD of it. https://www.amazon.com/gp/product/B00261209U/ref=dm_ws_sp_ps_dp Then, immediately put "Effi" on repeat play from youtube, official courtesy of WEA, totally legal:

On the other hand, the first thing I thought of when I saw the topic was that I hope they ARE going to reissue Rumasuma. But, it being Concord, we're more likely to get a 34 minute CD of "Sonny Simmons Plays for Lovers".

Actually it gets complicated for the next decade. The Impulse albums are actually really good on their own terms, more "ethnic" than the Flying Dutchman's. I don't play them nearly as much, but would never part with them. And the remainder sets on Flying Dutchman ("Yesterday"s and the unreleased track on "El Gato") are essential. The A&M's are to taste, as there are plenty of commercial concessions. However, 'Caliente' is, to me, the greatest album ever made in that genre by a longshot, the production and repertoire are superb, and Gato sounds just like Gato, and very happy to be there. Diminishing returns on the rest, but they all have their moments, especially 'Ruby, Ruby'. Then you have the early 80's post-A&M period, and he made two worthwhile, straight ahead albums. "Gato...Para Los Amigos", which is a fabulous live 2LP set with great repertoire and long-time sidemen, which is essential, and "Apasionado" a small group studio set with the definitive take on "Last Tango...". Not essential, but worthwhile. But after that, nothing is remotely worthwhile, and I've heard them all. But don't sleep especially on 'Caliente' and 'Gato Para Los Amigos'.

Gato-confusion, more stimulating than a second cup of coffee! Point Jim was making was that Flying Dutchman wanted to key into the Pharoah audience with his former piano player, Lonnie Liston Smith, and that some people also said that Flying Dutchman wanted to key into that same Pharoah audience with Gato. Neither he nor I buy the Gato theory, but it is further confounded by the fact that Lonnie Liston Smith played with Gato after he left Pharoah. At any rate, be sure to check out Gato's 'El Pampero' album, live at the 1971 Montreux festival, with Lonnie Liston Smith and, amazingly, Chuck Rainey and Pretty Purdie, plus Sonny Morgan and Nana, creating a classic. There is, of course, no sense in every trying to put Gato on a BFT. He is always instantly recognizable, regardless of how good or how bad the cut is. But cut 12 is Lonnie Liston Smith with George Barron on sax, just to be clear! Still need ID on the cuts for 12 and 13 (we have the artist/album), and for everything on cut 11.

Mark, here is the album for #12

Agreed on both counts. Those are by far my favorite Gato Barbieri albums (especially 'El Pompero'), and to me, he sounds like Gato Barbieri on them, not like Pharoah Sanders. The first Lonnie Liston Smith album very much sounds like a Pharoah Sanders album, with an appropriate (though otherwise unknown, at least to me) sax player, and a couple of well-known tracks that Smith had already recorded with Sanders. That being said, it's a better Pharoah Sanders album than what Pharoah was putting out on Impulse at that time, where he was repeating himself and thrashing about some. Smith then found a way to smooth out and commercialize that sound more and more on each proceeding album until it was Muzak by the end. This album, though, still has a lot of guts to it, if not a lot of originality.