felser

$22.82 for me, but still well worth it, so, so I placed the pre-order.

This are the only one by female singer I have kept and listen to. Quite marvelous, including some of the songs she wrote herself.

Don't disagree, though it is worth pointing out that Morgan was only 19 at the time.

Yeah, I have this on my living room wall Also this And a different crop of this

To me, it's more than "darn good" (the title track alone assures that), and less than "desert island". Not sure it would even make my list of top 10 Coltrane albums (off the top of my heard, "Giant Steps", "Ole", "Plays the Blues", "Coltrane's Sound", "Africa/Brass", "Village Vangaurd". "Impressions", "Coltrane", "Live at Birdland". "Crescent", so I'm already at 10 ahead of it, not even considering Prestige recordings and "A Love Supreme" and beyond).

sold, thanks!

on hold

2CD set on Emanem. Played once. $18 shipped in USA. PM or email john.felser@verizon.net if interested. Will consider trading if not sold in 48 hours.

Per CDJapan: " Includes six unreleased takes of "Blue Train" and "Moment's Notice." Pass.

Amen!

Sorry to hear that. It is understandable. He had such a physical style of playing. On record and live, he just overwhelmed players as strong as George Adams and Gary Bartz in the mid-late 70's.

Yes, and thanks for the hours of joy from your art! Do we know why he has not recorded in many years?

It's very early, conservative work for her. Only necessary if you are a completist for her work. Nothing wrong with it, but doesn't hold a candle to her later work. 1965's "Inside Betty Carter" has the last (and to me, best) of her early style. 1969's "Finally" introduced her later, iconoclastic work. Start with the 1969-1993 albums, and work backwards.

Correct and agreed!

Yep - this is from online article by Kevin Laskey at musicandliterature.com: The service featured readings, including Coltrane’s friend, the trumpeter Calvin Massey, reciting the former’s poem “A Love Supreme”, and musical performances by Coltrane’s saxophonist-peers Albert Ayler and Ornette Coleman. Ayler’s quartet, featuring Donald Ayler on trumpet, Richard Davis on bass, and Milford Graves on drums, opened the ceremony, while Coleman’s quartet, featuring David Izenson and Charlie Haden on bass, and Charles Moffett on drums, played just before the benediction. Both of these incendiary performances were captured on portable recording equipment—albeit with fairly low fidelity—and were eventually released on record. (Ayler’s performance can be found on the compilation Holy Ghost: Rare & Unissued Recordings (1962-1970), released by Revenant Records in 2004, while Coleman’s performance was originally released under the title“Holiday for a Graveyard”, on the album Head Start by the Bob Thiele Emergency on Flying Dutchman Records in 1969.)

Gato Barbieri's "Under Fire", Leon Thomas's "In Berlin", and Larry Coryell's "Barefoot Boy" (one of the three best albums he ever made to my ears) are all gems, hidden or otherwise. The Chico Hamilton is a chance to hear some Arnie Lawrence. The Bob Thiele is originally a 2LP set, an incredibly pretentious "history of jazz" thing, but has appearances by some really interesting people then associated with the label. Here is the Dusty Groove blurb: A wild little record – one that was issued under the name of Flying Dutchman label headman Bob Thiele – but which actually features work from some of the grooviest artists on the label at the time – including Tom Scott, Ornette Coleman, Jon Appleton, John Carter, Horace Tapscott, and Bobby Bradford! The package has a very different feel on each of the album's four sides – and side one is a tremendous showcase for the young reedman Tom Scott – working here in a cool mix of electric and acoustic instrumentation that's similar to his other records of the time – including organ, vibes, and some nice funky touches as well. Side two features an exploration of the history of jazz – but one that progresses quickly from early modes to hipper ones – showcasing the talents of John Carter on tenor, Bobby Bradford on trumpet, and Horace Tapscott on piano! Side three is a mighty dedication to the late John Coltrane – played at first by a trio with Joe Farrell on flute, Wilbur Ware on bass, and Elvin Jones on drums – then moving into a mix of Farrell's flute and narration by Rosko – then a performance by the Ornette Coleman quartet. And side four is especially mindblowing, as it's comprised of lone long piece by Jon Appleton's Syntonic Menagerie – a mix of sound samples, tape tricks, and jazz – as a commentary on The American Indian, JFK, and Martin Luther King. The whole thing's a great illustration of the Flying Dutchman label at its most revolutionary – and titles include "Head Start", "Freaky Zeke", "Lanoola Goes Limp", "Swing Era", "In The Vineyard/Avant Garde", "Love Supreme", "Lament For John Coltrane", and "A Few Thoughts For The Day". CD also features a rare bonus track – "The Flying Dutchman".

Yes, great album, grab it! Quite the fascinating rhythm section....

One of the most underrated pitchers ever. Had he consistently been on good teams, he would have had staggering records

I actually like that one, especially the Marlena Shaw cop on Rose Rouge. That one sold 4 million copies (I had no idea, thanks), the Norah Jones sold 27 million copies. For reference, Thriller has sold 66 million copies.

Love that Leon Thomas in Berlin album! And glad to get a remaster of Coryell's "Barefoot Boy".