danasgoodstuff

Thanks for the imput. I asked Jackie if we should rehearse, back when we first talked about it. Her response was something along the lines of 'if you want to, but we don't play tunes so you don't need to...' The other players do respond to each other and the turntable/samples, but not in a 'playing the same tune' kind of way. The feedback I've gotten so far has been positive. I figure that however many gigs I end up playing is exactly that many more than I ever expected to play... I continue to practise tunes, but figure maybe I should be working on something else...scales, riffs and exercises wouldn't hurt but don't quite seem right for this gig either.

Great story 'bout Bernie S. Only way it could've been better was if you had gone home with Miss Congeniality! I have to wonder if Ayler and other might not have been better off without ESP...certainly there would be less documentation of their playing but it would've been done better(?) Even in the official ESP site bio, he and they come off as rather naive, especially for a NYC lawyer. Oh well, what happened happened.

I remember seeing Sonny with Cosby, D. Murray, and assorted others on TV (BET?!). They were all players from a 'Cosby Presents...' album, but a different combo than any of the tracks on the album. They played something from the labum and a smoking version of "All Blues". Is this performance in circulation? If I was doing a SS box, I'd want that version of "All Blues" for it...

BNBB

One of the Brit Rock Rags (MOJO?) has an issue out now with a bonus CD, something like 'the roots of Led Zep', with the predictable blues and lots of Brit folkie acoustic guitar pickers... The accompanying commentary might be interesting to you.

Love News, More News & SC Memorial Q I have a JB instrumentals LP from the 60s where they do Sidewinder and Song For My Father, w/out funking them up too much. May be we should start another thread for Blue on Blue covers of BN material on BN, eg John Patton's versions of The Turnaround & Chitlins Con Carne?

A few months ago a friend of mine asked me to come sit in with her at a once a month free improv gig (Sound Sunday Pleasure at the Dunes in Portland, first Wed of the month if you want to come). Pretty brave and generous of her considering she'd never heard me play... So I went and listened to the next one and then sat in on the last two. I'm thrilled to be playing in public and be treated like a real musician by the others, but I have no idea if I'm really contributing much. Any suggestions on ways to approach this sort of thing? I tend to free associate bits of tunes...

I liked Like Minds, but for me it was too many 'like sounds' or maybe it was the mix that made it the different instruments sound not different enough... Love Crystal Scilence. Burton's recording debut on Hank Garland's Jazz Winds From a Different Direction is worth checking out too.

My memory is that the Motion On Broadway is v. good, that Konitz makes it even better than the first two w/out him... Nedd to listen to it again, soon.

Shrdlu: The Harold Land on Cadet/Argo is nice, shorter tunes but otherwise not radically different than what they did for BN. I've only listened to it once, so more than I can not say...

"Sanctuary" 'cause that's what Miles sounds like he's looking for with all that rattle & hum building up to his three note cry. Lots of interesting stuff tto listen to all the way through, and yes I do own the box...

I'm most definitely NOT a Talking Heads fan, BUT TNTBTH(?) really is a great live album from an era that wasn't especially plush with them 'cause the expanded version of this band could really play...and the originals and the audience all seem v. excited by that. I have a theory (not again!) that many name rock bands (the Stones, the Who, Led Zep, etc.) actually put out mediocre live albums on purpose, so they don't have to try to live up to what the're really capable of 'on a good night'...

Larry, Thank you for a thoughtful & thought-provoking reply. I think I need to digest before commenting further. Jim, Want to have a go at the Rollins +3 album being the best argument for taking his recent work at least somewhat as seriously as the classic? I think it's better than any number of run-of-the-mill records from back in the day, if not quite as good as the best of 'em.... Dana

Jim, I, too, hear a great deal of joy in Rollins later work. Maybe an everyday sort of joy but joy nonetheless. Larry, You're a perceptive and articulate guy and I've had occassion to defend you here when I thought you were being unfairly attacked, BUT did it ever occur to you that perhaps you're also a little, umm, demanding? Hoping not to be misunderstood, Dana

OK, I'll bite since I love Rollins' playing and own virtually all the official, plus... Sax Collosus Tenor Madness (w/Coltrane) +4 (Clifford Brown/Max Roach under Sonny's name) Way Out West Freedom Suite Live @ Village Vanguard The Bridge Alfie Live In Japan +3 After the Bridge other choices could be made. I am a fan of Rollins' Milestone years but they are uneven...

I bought the Harold Land Quintet (w/B. Hutcherson) sealed at this shop and it was fine, for what that's worth. The owner told me his brother picked up the bunch of 'em at a garage sale in suburban Chicago... But in principle you're right, "sealed" is no guarantee of quality.

I bought the Harold Land Quintet (w/B. Hutcherson) sealed at this shop and it was fine, for what that's worth. The owner told me his brother picked up the bunch of 'em at a garage sale in suburban Chicago... But in principle you're right, "sealed" is no guarantee of quality.

On our friend's most excellent site I just noticed the following: Ahmad Jamal: Chamber Music of the New Jazz Pat Metheney: Song X (w/ Ornette) Gary Thomas: Til We Have Faces (w/ Metheney) Paul Motion: On Broadway vol.3 (w/ Lovano, Konitz, Frissel, Haden) Jimmy Smith: Retrospective (4CDs, BN, a cast of thousands?) 'Discuss amongst yourselves...'

Mike, My bad. Of course, it was Ray Crawford...that's what happens when you do things from memory!

last time I checked Vinyl Resting Place here in Portland still had a bunch of SEALED Cadet/Argo LPs by Ahmad Jamal, among others. Lots of the classic trio, but other stuffs as well, like one with a fiddle player and guitarist added. Don't forget, before the trio with Isreal and Vernal he had a Nat Cole-style trio with Barry Gailbraith & _____(?). equally good, but the reissue I heard on CD had mediocre sound...

clem, the sound is OK but a little on the dull side. Would I be overly cynical to suspect it's that way on purpose to avoid jarring transitions between the studio stuff and the stuffs from the BBC and genuine live? By the way, it has one cut from Mahoney's Last Stand (the only cut w/out proper credits!), how's the rest of the album? Dana

The Hubbard solo stuff may have been so-so, but the two co-led with Woody Shaw were wonderful and have already had their deserved reissue. Totally agree on the excellence of the Geri Allen, Ralph Peterson, Jack Wlarath & Bobby Watson titles already mentioned. The Adams/Pulllen Quintet and Pullen solo are about to be Mosaic-ed... I'm also quite fond of an allstar jam thing they did called New York Stories which featured young lions such as Watson, Redman, Hargrove(?), etc. and Danny Gatton as the ringer. I think the two Don Grolnick(sp?) BN's would fit this criteria as well. So, I guess the short answer is "yes"...

I, too, like this one. In part, I think, because it's one of his more straightforward, less concepty albums. Or, maybe, the concept is just too subtle for the likes o' me. Not quite an 'old school' blowing session, but much more to that side than a lot of his other stuffs (some of which I like too). Clarinet is, of course, a lovely instrument but I think it's strong association with the Swing era may have held it back in more modern times. Most of us, after all, pick our instruments when we're just starting out and are prone to making superfical judgements....

The other reason 'they all do it' this way is because those who didn't went under, e.g. Artists House. Record companies also screw each other this way, see Atlantic's distribution contract with Stax which (when they finally wrote it down) gave Atlantic ownership of any and all Stax masters on which they exercised their distribution option...

Kenny Burrell did an album dedicated to a local venue called the Bluebird. Many of the city's R&B session guys played jazz on their own time, some recorded. Is Houston Person from Detroit (he recorded at the Club Mozambique there)?