Stefan Wood

I have the Barshai box, and that is good enough for me.

They lost the rights to the masters or were they destroyed?

It's for sale on dustygroove.com right now. Got it, playing it right now. Another solid release by the guys from Analog Africa. A nice mixture of mellow rhumba sounds, and that killer afrobeat groove!

Yes. Most jazz artists are only loved by jazz fans, many of whom are very anal about taking good care of their records. People who were not jazz fans per se bought Jamal records and stacked them up on the multiple LP turntables with their other stuff. They played 'em bald. And once they were done with the Jamals, they stacked the Jimmy Smiths and burned the place down!

Received mine yesterday (first of three on the way).

Like Rolling Stone, etc., it is all about selling issues and maintaining subscriptions. They should just go completely on line; forget the paper copy

Mine just came in the mail. Yeah, I don't know why I avoided listening to this for so long -- this is great, great music!

This looks very interesting! From Amazon: Lauded as one of the most vital musicians on the planet by Coda, and "one of the most imaginative and explorative composers in creative music." by John Zorn, Wadada Leo Smith is one of the most visionary, boldly original and artistically important figures in contemporary American Jazz and free music, and one of the most distinctive trumpet players of our time. Spread out over four discs, Ten Freedom Summers is based on the Civil Rights Movement in the USA and Wadada Leo Smith has been working on it on and off for over 30 years. It features performances by his Golden Quartet/Quintet and a small chamber ensemble, including Anthony Davis, John Lindberg, Pheeroan AkLaaf, Susie Ibarra and others. Wadada's previous albums on Cuneiform have been extremely strong sellers and have received huge critical acclaim and strong radio play and Ten Freedom Summers is not only a truly remarkable recording, it is Wadada s piece de resistance of his musical accomplishments. Having recently turned 70 and more active now than anytime in his career, with Ten Freedom Summers , Wadada Leo Smith continues to point forward in his work.

Jamal's Argo lps were popular!!

Or George Lewis. Or Billy Bang. Or String Trio of NY.....

Maybe it's a regional thing; here in the DC area I have run across tons of pristine Ahmal Jamal Argo lps. The hard to find ones are the 20th Century lps.

The JDilla reference on a jazz board made my day. Awesome. Dilla with Glasper would have been a very interesting combo. Dilla died much too young.

12. I can see how others might think this is Jarrett but perhaps Chick Corea? Swings a bit more than what he does, though. A bit more playful on the keys. McCoy Tyner?? 13. Organ & Sax skronkfest!! Music to my ears. I don't have a clue. 14. Sounds like a New Thing track from Impulse! Or something similar from that period. Archie Shepp? 15. It does have that 60's spy soundtrack feel, but with a bit more of an edge. Something like ICP or some other avant large ensemble like Pierre Dorge's group. It gets funky as it moves along, with an 80's backbeat. I'll say Pierre Dorge. 16. Another large ensemble. Art Ensemble?

My off the mark remarks: 1. A waltz. Don Rendall and Ian Carr?? I don't know why I think that, or of some other British group like Ronnie Scott and Tubby Hayes. There's a dryness in the playing -- not a bad thing, just different. Like I said, off the mark. 2. Small combo with organ. Wild Bill Davis has a more vibrating timber to his sound. Maybe some Basie group variant? Don't really know. 3. A swinging and smooth tune. Bennie Green? 4. A live big band tune. Boland/Clarke? NDR Big Band?? 5. Smooth yet strong baritone. Gerry Mulligan? More likely Cecil Payne? 6. Sounds like a late 50's date. Swings!! Based on the clues in a prior post -- Joe Harriott? The drums remind me of Chico Hamilton though. Eric Dolphy? 7. Caravan! With flute. Maybe this is the Chico Hamilton with Dolphy..... from one of those Warner Brothers lps. 8. This is a really elegant tune, softly dramatic. Can't identify the trumpet player or the sax, though I probably should. 9. Trombone.... Jimmy Knepper? 10. More trombone, a bit more spiritual. George Lewis? 11. Clarinet, with a bit of a klemzer feel. John Carter, but more likely, Ben Goldberg? Maybe not edgy for Goldberg.

....yes indeed, at this price I pulled the trigger on it as well.

Happy Birthday!

Nothing to worry about. They are pretty speedy, for overseas shipping.

About a week.

This article is a nice counterpoint to the Glasper article (not so much a comment on Glaper, but on the article's writer's viewpoint).

Same day notification

So, what were Tribe Called Quest/Jungle Brothers/the Roots doing? JDilla? I respect what Glasper is trying to do, but again, to say this is new is ignoring a lot of recent history.

http://www.washingtonpost.com/entertainment/music/pianist-finds-the-right-notes-between-hip-hop-and-jazz/2012/03/29/gIQAWsQdlS_story.html Seriously, haven't we heard this before? Not the just the music, but the viewpoint. I guess this ignores artists like Matthew Shipp w/Mike Ladd, Steve Coleman & the Five Elements, Anti Pop Consortium, etc. etc.

Hank Mobley 10 cd box set

From Adam Lore's 50 Miles of Elbow Room email: Right on time reissue of this great underground free jazz classic, complete with two previously unissued tracks totaling over 20 minutes (!) and liner notes by Ed Hazell. 50 Miles used to offer the original vinyl pressing, and that write-up is below: “I watch the things all around me and I shy away, reject and go away, and sometimes it’s more successful.” – Earl Freeman, quoted in “Freeman Fighter,” written by Valerie Wilmer, published in Melody Maker, May 13, 1972. Earl “Goggles” Freeman was an outcat’s outcat: musician, poet, visual artist, and all-around interesting fellow. Born in Oakland in 1937, Mr. Freeman was a noteworthy but somewhat enigmatic musician who was most active recording-wise when he was an expat on the ‘60s Paris free jazz scene. His discography includes dates by Archie Shepp, Sunny Murray, Kenneth Terroade, Noah Howard, Selwyn Lissack, Mike Osborne, and even Gong’s first record. A Korean War veteran, he often wore an aviator’s cap and goggles, hence his nickname. (He is also rumored to have worn a parachute onstage on at least one occasion.) In 1972, French state investigators hauled Freeman in for questioning and subsequently declared that he possessed a “Dangerous Political Image”. Under threat of imprisonment, he hightailed it to Amsterdam. He hung there for a while until some folks smashed his bass, signaling that it might be time for another move. Freeman was living in New York City by the mid-’70s, where he would occasionally perform with The Music Ensemble. He also directed the Universal Jazz Symphonette, as heard on the elusive Soundcraft ‘75 album. While its fidelity leaves quite a bit to be desired, the LP is highly sought after because it features some of the earliest recorded work from William Parker, Daniel Carter, Raphe Malik, Billy Bang, and many other young players on the scene during that period, including Henry P. Warner and Philip Spigner, a.k.a. Adeyeme (incorrectly credited as Abe Yeme on the LP sleeve), who would later collaborate with Freeman in The Freestyle Band. Henry P. Warner was born in New York City in 1940. Notable early entries in his discography include William Parker’s Through Acceptance of the Mystery Peace and New York Collage by Billy Bang’s Survival Ensemble. He was also the music director for Bang’s Outline No. 12 LP, and has performed with Sun Ra, Wilbur Ware, Earl Cross, Frank Lowe, Clarence “C” Sharpe, and many others. Today he leads his own bands, performs with groups such as the Vibrational Therapists, and takes part in jam sessions in a multitude of scenes in and around New York City. Warner believes in the importance of the role of the musician within the community, and is a teacher of long-standing at Mind-Builders Creative Arts Center in the Bronx. William Parker’s book Conversations includes an extensive interview with Mr. Warner. Born in Manhattan in 1951, Philip B. Spigner has led a multifaceted life that could be considered somewhat characteristic of many subterranean artists. A member of the Black Panthers at 17 years old, he was later offered a full scholarship to New York University but instead pursued an occasionally illicit underground life. He subsequently adopted the African name Adeyeme (Yoruba for “the crown becomes me”) and became a hand-drummer on the NYC free jazz scene during the ‘70s and ‘80s. He also appeared at jazz festivals in France and Luxembourg. Soon afterward he relocated to Arkansas where he would play solo gigs in and around Little Rock at the YWCA, Senior Citizen’s Tea, and at junior high schools. Today he continues to play “freestyle” hand drums semi-formally in California. Warner and Spigner performed together in a group called The Bakery before later joining forces with Earl Freeman in The Freestyle Band. They privately pressed 500 copies of this LP in 1984, their only commercially available document, and it is one of my favorite dispatches from the free jazz underground. Freeman’s bubbly electric bass and the steady patter of Spigner’s percolating hand drums create an ominously undulating backdrop upon which Warner’s clarinets (both b-flat and alto) flutter and fly. Unfortunately, various circumstances resulted in making the record particularly obscure. A third party diverted overseas promoters who wanted to book the band, and eventually the group split up. A shame, as I’ve never heard anything else quite like this terrific album.

In the mail as I type, can't wait! Freestyle Band