felser

Hutcherson/Land, including the Land albums on Cadet and Mainstream. I had suggested that to them 10 years ago.

The Sunny Murray on ESP-Disk And the second album on this:

Andrew White in there anywhere?

+1 Easily rectified for under $10 https://www.ebay.com/sch/176984/i.html?_from=R40&_nkw=joe+henderson+page+one&_sop=15

This looks great to me, that band was on fire! CD's available https://originarts.com/recordings/recording.php?TitleID=82810 HAL GALPER LIVE AT THE BERLIN PHILHARMONIC, 1977 ORIGIN 82810 PURCHASE ITUNES - $10.99 (Mike & Randy Brecker) comprised a blistering front line. Galper was in aggressive form, playing with an energy reminiscent of McCoy Tyner, a spirit of embellishment reminiscent of Art Tatum and a harmonic knowledge reminiscent of Bill Evans. Dockery and Moses formed a heart-pounding tandem. OWEN CORDLE, JAZZTIMES Captured during a pivotal, trailblazing period of his five decade career, pianist Hal Galper had come off the road with the Cannonball Adderley Quintet looking to establish his new working band. Pulling in Michael & Randy Brecker, whom he had recorded & worked with in the early '70s, along with bassist Wayne Dockery and drummer Bob Moses, Galper set up Sunday matinees at NY's Sweet Basil jazz club for a year to woodshed the group concept and new compositions. In the studio, 1977's "Reach Out" displayed an astonishingly original collective, all matching Galper's chance-taking, high-spirited, free-wheeling approach to music making. 1979's "Speak with a Single Voice" captured the energy of the quintet live, but on this 1977 Berlin Jazz Festival performance, the band shifts into an other-wordly overdrive. From the opening salvos of Galper's "Now Hear This," the mission is defined - jazz giants, in the prime of their youth, set free to blow, pushed to the limits by Galper's facility, full-bodied sound, and fertile imagination. TRACK LISTING: DISC ONE 1 Now Hear This 13:59 2 Speak with a Single Voice 24:36 3 I'll Never Stop Loving You 12:56 DISC TWO 1 Triple Play 14:04 2 This Is the Thing 12:33 3 Hey Fool 9:31 PERFORMERS: Hal Galper - piano Randy Brecker - trumpet, flugelhorn Michael Brecker - tenor saxophone Wayne Dockery - bass Bob Moses - drums PRODUCTION INFO: Produced for release by Hal Galper & John Bishop Recorded live at Berliner Jazztage '77, Berliner Philharmonie on November 4, 1977, except Disc 1/Track 3: Recorded at Berliner Philharmonie on January 11, 1978 Berlin Jazz Days Artistic Director: George Gruntz ZDF concert telecast produced by Reinhard Knieper Mastered by Dan Dean, Dan Dean Productions, Mercer Island, WA Liner notes by Paul Rauch Cover design & layout by John Bishop REVIEWS OF LIVE AT THE BERLIN PHILHARMONIC, 1977 Midwest Record (Chris Spector) One of the great you wish you were there moments is finally getting it's long over due release, this live date finds Galper fresh off the road from three years with Cannonball Adderley now fronting a band with the Brecker Brothers blowing away. With echoes of Miles in the air, along with a finger pounding that could only have led to early arthriti ...

This of course puts us into Alan Douglas territory, which is always tough sledding from an ethical standpoint.

Bootsie Barnes was an inspired choice for Philly, then. Larry McKenna also would have been.

I would expect that that 32 Jazz CD reissue in 1997 was legit. Unless that had something to do with Muse having released it under Chick Corea's name as "Bliss" without proper clearance (thought I read that somewhere), and 32 Jazz put it out as part of their Muse rights purchase. Really interesting album, regardless. And a chance to hear John Gilmore (and Corea, for that matter) in a very different setting.

Agreed. With them, you get what you pay for. Even in PD-land, there are much better places to go.

I'll take the Tuby Hayes as the reissue event of the year. The Doug Carn and the Shirley Scott are great music, but just straight reissues. I've not heard the Monk or the Castro yet.

+1, RIP.

Yeah, really:

7 CD set, you can get for around $30-$40, Also "Newk's Time" on Blue Note. That one and hte Prestige "Saxophone Colossus" are my two favorite Rollins titles.

I vaguelly remember "I've Been Hurt' from the late 60's, hard as I may try to forget. Beach Music had its high points and its low points...

Has its merits, but when I have Sonny Simmons/Prince Lasha/Woody Shaw/Clifford Jordan in the house, I'd like them to do more than play on the chorus. And note the hype on the cover. You really want to put this ahead of, say, 'Last Date' and 'Out to Lunch'? I do like the other album from these sessions, 'Iron Man', a lot better. Also totally with the other posters on the Milestone Jazzstars. I remember the deep disappointment when I shelled out my hard earned $ for that back in the day.

RIP. I really like the solo "Continental Jazz Express" as well as much of his sideman work. Way too much by him that I have never heard.

I like Hutch's list a lot, just like mine (which actually only sort of exists in my head) better!

It might be a very long night...

CNN and MSNBC.

No, I did at one point in my life, and had I managed my vinyl differently, I'd be a richer man today :-). I have a burn of it. George Coleman, Clifford Jordan, Julius Watkins, Harold Mabern. Larry Ridley, and Duke. Quite a group, stretching waaay out in two 20+ minute cuts. I had this up as my last "album of the week" here many years ago, and got zero bites on discussing it, even though it is a fascinating document of Jordan, Coleman, and Watkins travelly well outside of their normal territory. A reissue would be most welcome. These two combined get you the title cut. The other cut is nowhere to be found on youtube:

this one is also quite good, with the same caveats. The other two, "Constant Throb", and "Intensity", are also worthwhile.

I do like that Michael White, and the Walt Dickerson. I'd also make room for one of John Klemmer's Impulse albums.

Agreed, Iron Butterfly and the whole 60's psychedelic thing is of a certain time and place, but that era is ingrained in me.

$18 for 3cd set on Amazon, my pre-order is in, thanks for the heads-up! I think "self-portrait" was a continuation of Dylan's effort to de-mythologize himself and be able to set a new path. "Nashville Skyline" and the last two cuts of "John Wesley Harding" I see the same way. The rest of "John Wesley Harding" is something altogether different in my eyes, due to the lyrical content, and I consider the first 10 songs on it to be his lyrical masterpiece and find it to be fulfilling in its spiritual journey in a way the "Christian" trilogy of a decade later is not.