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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.

Mark, you are correct on the Harley (#13), and research is not only allowed, but encouraged! Now go ahead and name the track for full credit! +1.

11 and 13 are tough, but I'm actually surprised that the leader/album on 12 has not been identified. Will be one of those things where it is obvious once known. It is not obscure by any means.

No. But good guess. I need the third. Have been looking for it. Thankful to have the first two

Yes. It is! Understood. Not aware of the drummer's earlier records, thought this and its companion (1975 and 1976) were the first, so I'll have to research further. Please PM more info! I actually like the #12 leader's devolved recordings up to a point, until he switched labels, though each one was weaker than the one before.

He didn't record anything for that label.

Summary of what still needs to be ID'd: 4 - track needs to be ID'd, artists and album already ID'd as Lloyd/Higgins "Which Way is East?" 11 - Nothing ID'd yet. 12 - Nothing ID'd yet (except we know that it's NOT Pharoah Sanders) 13 - album and track need to be ID'd (Artist ID'd as Rufus Harley)

Thanks. It came to my attention late then. I grabbed it as soon as I read about it, which was not until this past October. Part of my feelings is based on that I despise much of their Richard Perry work, and don't actively desire to hear any of it except "I'm So Excited" ever again in my lifetime. I heard their early work before I ever heard LHR, so they were a gateway for me. If their "Cloudburst" is the only version you know, it sounds really good. And I think their "Salt Peanuts" is a marvel, even though they are clearly "trying" really hard. But something like "Yes We Can", "Wang Dang Doodle", and especially "Love in Them There Hills" is where the biggest payoff is for me.

No argument there! Yes it does!

Indeed! Thanks Thom!