Rooster_Ties

Hot damn!! Are these the same folks that brought us that rare Sun Ra piano-trio release last year? - God is More Than Love Will Ever Be (is the title, iirc). I'm all in for this one too, probably.

Very useful -- thx!

Me too. About the only way to make sense of that volume of material is to break it down in some way. Leader-dates, colabs, and sideman appearances *isn't* a half bad way to do it. Nor is separating everything out by year, to be perfectly honest. Just something (anything) to add some logic to a what would otherwise be too overwhelming a sized set (of everything). At least for me.

PM sent -- thx!!

Yeah, he seemed a little Type A when I saw him, but not the most Type A of anyone I've known (and worked with). Honestly, me and Type A's are like oil and water. I'm sure I drive them crazy, and I damn well know they sure as hell drive ME crazy. *Especially* Type A *MEN*. I worked with a ton of Type A guys in my first real job out of college, in a corporate environment, and it just about drove me off a cliff. I'm much more fond of Type A women, including working with and for them. My wife's kind of Type A too. I've got no problem with strong-willed women, long as our values are in decent alignment, etc. Some of my best friends and work colleagues have been Type A women, matter of fact. Zev wasn't that bad, but he's clearly a go-getter, and can be aggressive when he wants to (or if he forgets not to be). Probably need someone like that, though, to make some of this stuff happen.

Zev seemed like a pretty ok guy when I heard him give a talk at UDC around the time that the Larry Young thing came out. Not somebody I'd necessarily click with immediately, but he wasn't terribly off-putting either. To be honest, I don't think I've ever met a fellow jazz fan that wasn't at least a little quirky in the personality dept (and I'm sure anyone who's met me would include ME in that same quirky dept too). He seemed like an only "semi-oddball" jazz enthusiast -- and I'm sure a few of us here are very much in that same vein. I'm appreciative of the work he's doing, and I'll try and support his work with my wallet to the extent I can, as my interests dictate. If he can unearth anything else as amazing as all those Larry Young sides, man, he's doing damn important work there, and more power to him.

I think it also comes down to how long you've known someone, and whether you've worked together before. Trust often doesn't happen overnight, and sometimes much less quickly with some folks. Not suggesting anything about who's right/who's wrong in this (or any) particular instance. Means of communication can also introduce miscommunication (or at least uncertain communication) -- i.e. it's hard to get a read on someone just through email or even over the phone. People have different styles of communication that aren't always compatible too. Put me with a New Yorker who's really a fast-talker, and I'm likely to discount what they're saying quite a bit -- maybe more than I should -- simply on communication-style alone. But doubly so over the phone. Dozens of factors at play.

Do they look like they have scratches, or other visual defects? My earlier reply assumed they all looked clean.

13:12 https://www.discogs.com/Van-Morrison-I-Cant-Go-On-But-Ill-Go-On/release/6238918 Now THAT'S obscure!!

Not discs #5 & # 6, but five or six different discs won't play?? Really?? That seems semi-unfathomable that fully five or six different discs would not be playable, as opposed to one or two which might be more believable. Have you tried another/different player?? ??

Here the second Symphony that I'd recommend... William Levi Dawson, Negro Folk Symphony (1934) http://citation.allacademic.com/meta/p_mla_apa_research_citation/2/0/7/1/2/p207125_index.html From its premier in 1934 to its revision in 1952, the Negro Folk Symphony composed by William Levi Dawson captured first the stylistic traits of African American music or during Dawsons time, Negro folk music, namely the spiritual and jazz. In 1952, however, after travel to West Africa Dawson revised the symphony to include African musical traits, namely in its rhythm. Whereas the events of his life implanted the emotive meanings of the Negro spiritual and the necessities of his life ensured early employment as a jazz musician, Dawson sought to be recognized as a classical composer of merit. From his school days at Tuskegee Institute in Alabama and his travels to West Africa in 1952 Dawson became immersed not only in the musical language of Africans, but also the sociology and culture of Africans. MORE GOOD INFO ON DAWSON HERE: https://www.allclassical.org/black-history-month-william-levi-dawson/ Again, Neeme Jarvi (and the Detroit Symphony) -- these are the same recording, and there are some other budget releases with more generic covers out there too (Jarvi/Detroit), all the same. It's a really stunner! I've never heard it in a concert hall, but I can't imagine it wouldn't go over incredibly well, and it's a terrible shame it isn't programmed more (and hardly seems to be programmed ever). https://www.discogs.com/Dawson-Ellington-Detroit-Symphony-Orchestra-Neeme-J%C3%A4rvi-Negro-Folk-Symphony-Suite-From-The-River-So/release/3061743 https://www.discogs.com/William-Grant-Still-William-Levi-Dawson-Duke-Ellington-Detroit-Symphony-Orchestra-Neeme-J%C3%A4rvi-Symph/release/10921602

Hmmm, interesting. I would not have expected the Four Freshman set to have sold that incredibly well -- but then again, I have no idea at all what their demand would be like.

I could list 20 with a bit of thought, but I'll start with 3 symphonies (here's the first one, and I'll post the others in coming days)... Symphony No. 2, Op. 19 is a three-movement work for orchestra by American composer Samuel Barber. The 25-minute work was originally written in 1944. The work underwent many revisions and was finally published in 1950. The original manuscript was withdrawn by Barber in 1964. He ordered that G. Schirmer destroy(!) the original manuscript and all scores in their library. The work remained unpublished for many years until 1984 when a set of parts turned up in a warehouse in England. Renewed interest in Barber's work led to a 1990 reprint of the 1950 edition. https://en.wikipedia.org/wiki/Symphony_No._2_(Barber) The best recording I've yet found is this probably this one (Neeme Jarvi, Detroit Symphony Orchestra, recorded in 1991). Same recording, earlier release...

Thx. FWIW, here's the one track from that set that has been issued (not by Blue Note, though)...

Bump! Cuz I've sure never heard of this date, to the best of my knowledge. Here 'tis from Discogs... https://www.discogs.com/Antonio-Chocolate-Diaz-Mena-Eso-Es-Latin-Jazz-Man/release/4240210 "Joseph Henderson" only SOLOS on one short track, but supposedly he plays on the entire album in the ensemble.

Was Joe Henderson still signed to Blue Note in September 1966?? Only one of these three (3) tracks has ever been released, but I'd love to hear them all. =============== 17 September 1966 Elvin Jones-Joe Henderson Quartet Performer(s): Jones, Elvin (drums); Henderson, Joe (tenor saxophone); Moore, Don (bass); Hutcherson, Bobby (vibraphone) Inner Urge Isotope Shade of Jade ===============

Trying to not get my expectations all out of whack, but this is some mighty good news no matter how you look at it. But ignoring my own advice (), is this perhaps the most promising Blue-Note related news in close to a decade? Trying to think of anything even remotely similar. IIRC, the last time there were any "new" archival releases on Blue Note, Freddie Hubbard's "Without A Song: Live in Europe" was the first of what was supposed to be a small series of similar, new "archival" live releases on/for Blue Note (Michael Cuscuna himself mentioned a couple other releases were in the works too, in press for the Hubbard, but I'm not remembering anything else that actually surfaced -- ???). In one interview, Michael mentioned We Montgomery (iirc), and something from/by Andrew Hill. The Hill thing never happened, but was the Montgomery something Zev later brought out through Resonance?? BTW, I asked Michael about the Hill when I saw him here at a talk at the Library of Congress ~6 years ago, and he said it was NOT an older, archival Andrew Hill thing -- but something that was (then) much more recent - something Hill recorded in Europe (I want to say maybe some Scandinavian country?), after Hill's resurgence around the turn of the century. For some reason Finland(?!) of all places, is popping in my head, but it could have just as easily been something recorded in the UK. Anyway, it never happened. Or is there anything else I'm forgetting? -- that actually came out on Blue Note -- since this one?? Well, other than the major Monk/Trane thing, of course (which was clearly a one-off, and not part of any sort of series, or effort to start dipping into the archives on any kind of even semi-regular basis). https://www.discogs.com/Freddie-Hubbard-Without-A-Song-Live-In-Europe-1969/master/611815

Amen to that!!

Just got that very CD myself in mid-December. Haven't warmed to Bob Berg yet on it (but I can't decide if the fault is mine or his), but generally liking it. Got it for the Terumasa Hino angle, and he's in fine form, if perhaps a little more (too?) straight-ahead than was typical for him around 1978.

OK, I listened to both of the OTHER two "Deep Reality" reissues last night (session details are in what I've just quoted here -- which is different than my post on Dec 31) and here are my first impressions. Journey To Air: This is QUITE a bit more "free" than Peace And Love or A Part -- but I'm just stunned at how coherent(!) I found all of Journey To Air to be. I can't remember exactly, but something close to 2/3rds of the entire album is collective improve -- but it's all handled just wonderfully. In any other hands, this date could and probably would have been a total disaster, but I listened with rapt attention throughout. Stylistically, I reminds me of a fairly free Sun Ra outing, albeit slightly more 'controlled'. It appears to be a studio recording, and it all just hangs together beautifully! I was fully prepared to be disappointed by this one ultimately (though I know I did report early good things about it back before Xmas) -- but I'm thrilled to report that this is maybe one of the most enjoyable "very free" albums I think I've heard in ages. No themes, no tunes, no 'heads'. But the pacing, and density of the improv - which goes back and forth between more of a single soloist (backed by others more in the background) -- alternating with periods of multi-horn improv (all layered on top of each other) -- ...but the pacing of all that is really a delight, and just right. Hardly a minute (or even a moment) did I feel like the proceedings ever got off track -- and I can't wait to hear it again on my better stereo system in the other room (I was relegated to the bedroom, while my wife had a college basketball game on the TV in the living room). Your mileage may vary, but I really loved Journey To Air. Not necessarily 'more' than the other two slightly more 'inside' dates I gave quick reviews to in my Dec 31 post -- but it's a damn nice date. Love Nature: Pretty meh, I'm afraid. Nowhere near as much collective improv, and things never seem to gel or go anywhere. Doesn't help that Love Nature also sounds like it was recorded in a tiny space (almost like a practice room?), and like the mics were all shoved inside the bells of each of the horns. Very disappointed in this one. The best solos are by the guitar-player, but they're not all that hot either. I guess I should count myself lucky, if only 1 of the 4 titles in this series (at $30 each, OUCH!!) turned out to be a dud, but this is it. I'll give it another listen, and see if it works any better for me the 2nd time -- but nothing on this date was clicking. Guess I should say that there were a couple half-hearted heads in spots, but then it was all free-improv the whole rest of the time, but with just one soloist at a time (iirc). Then at the very end of the whole thing, there's a unison(?) theme stated by the horns, which really seemed out of place, and disconnected with everything else. In any case, NOT my cup of tea.

There was a mention of his passing on NPR this morning (which I only half heard), and I'm almost positive it mentioned something about the Smother's Brothers. I'll have to search and see if the audio is on-line.

This is ultimately a matter of personal taste I entirely realize -- but I think both of those first two Eddie Henderson leader-dates are every bit the equal (5-stars) as any/all of Herbie's Mwandishi, Crossings, and Sextant albums. In fact, to tell the truth, I almost think those two Eddie albums are almost a hair *better* than those 3 Herbie albums.

You know, I mostly like his argument. And his alternative isn't half bad either. I don't love it, but I like better than contrafact. "Scrapple" almost sounds too colloquial, but I'm not sure I'd necessarily think that if this new term were already in place, and well in use. Call me half-sold, maybe. Nice treatise overall, by in large.

QUESTION: Did Gil and Joe ever record together? - in any sort of context? I'm certainly not recalling anything, and my Google-fu isn't either -- though it appears they did play live together in 1972... https://www.nytimes.com/1972/05/17/archives/gil-evans-jazz-pianist-marks-birthday-by-leading-big-band.html Gil Evans, Jazz Pianist, Marks Birthday by Leading Big Band MAY 17, 1972 Gil Evans, the jazz pianist, composer, arranger and conductor who has provided Miles Davis with some of his most viable settings, celebrated his 60th birthday last weekend with his large band at the Westbeth Cabaret, 155 Bank Street, where the group is playing every Saturday and Sunday. Ever since his days as an arranger for Claude Thornhill's band more than 25 years ago, Mr. Evans has been fascinated by the potential effects of waves of musical sound—hanging waves, spreading waves, cumulative waves. With his present orchestra, he is supporting these waves with the tremendous driving rhythmic force of a eight‐piece rhythm section made up of two electric guitars, an electric bass, drums, two percussionists, synthesizer and an electric piano. The rest of the band—two trumpets, two french horns, two saxophonists, trombone and tuba—gives Mr. Evans the mean for rich, colorful voicings that he uses lavishly in establishing themes for the various sections into which he divides most of his compositions. These themes, as a rule, are simply jumping off points for a broad, expansive background over which soloists can improvise. And Mr. Evans, who draws on a large pool of devoted and talented jazz musicians whenever he assembles band, has solists who can meet the challenges that he offers them. In this current group, Dave Bargeron of Blood, Sweat and Tears, plays a brilliantly, lusty trombone, Trevor Koehler builds some striking and exciting lines on soprano saxophone, and Joe Henderson, also of Blood, Sweat and Tears, makes excellent use of a basic, uncluttered attack on tenor saxophone. Dave Horowitz, on synthesizer, does not have solo roles but he constantly heightens and adds accents to the sounds of the soloists and the ensemble. Despite the emphasis that Mr. Evans puts on his soloists, this is essentially an ensemble group that produces an overall effect in which the soloists provide just one of several threads that Mr. Evans weaves together.

Listened to Peace And Love and A Part yesterday just once each (session details above), and both are largely excellent. I'll try and provide a more detailed review at some point, but my off-the-cuff description of both are that they're both fairly "free"-leaning, but with a mostly-solid (structured) underpinning in the rhythm-section through a good 70% of the proceedings. Very solid B+ albums, both of them -- to my way of thinking. The tenor-player on A Part goes too far 'out' for my tastes sometimes, but not for more than about 2 minutes at a time (at most) -- and his bass clarinet playing is also pretty far out there too, but he mostly doesn't detract from the proceedings. (Your mileage may vary with him). In both cases (both these CD's), Hino is in incredible form throughout, and Reggie Workman is a monster at holding things down (with Motohiko Hino on drums -- they really work well together). But the unsung star on both dates is Kiyoshi Sugimoto (guitar), who never fails to be interesting at every turn, and a player who really deserves to be a lot better known. And Hideo Ichikawa (piano and some Rhodes (iirc)), is no slouch either. I'm glad the tenor-player isn't on both of these dates, but I don't mind him entirely (when he reigns it in a bit). I was about to suggest that Peace And Love is maybe the slightly better of these two, but "Ode to Workman" from A Part is really phenomenal, and I definitely wouldn't want to be without it. I'd probably recommend both of these dates equally. My *memory* of the other two 'Deep Reality' titles are that they're both even more 'outside' than these two, and I'll try and given them a listen tomorrow or over the weekend, and report back.