Rooster_Ties

I first heard the term maybe 10 years ago, but I've been familiar with the concept for a good 20-25 years (probably first heard about it back in my Jazz 101 music history course in college, but probably just references to Rhythm Changes). Not a particular fan of the term itself either. I was close to 40 before I'd ever heard the term, and it's certainly not used in common jazz parlance far as I'm aware. Don't "hate" the term, but it doesn't add anything but unnecessary confusion without explanation, even to those already aware of the concept.

BLUE TRAIN!!

I very nearly forgot myself!! - as we were flying on Friday for the holidays. Less than an hour before my wife left for the airport, I had her set the DVR (I was at work, and headed to the airport shortly to meet her). Knock on wood our DVR gets it ok.

I've had periods (back in college) when I rather liked Jethro Tull -- the album Songs From The Wood was probably my favorite, but there were a number of others I remember semi-fondly -- almost anything in their catalog up through about 1987 was ok in my book. Don't spin Tull that often any more (can easily go 5 years without hearing a note), but there's lots about them I do still like. Heard them live once in St. Louis. when I was a junior in college -- pretty sure this was the concert: https://www.setlist.fm/setlist/jethro-tull/1989/the-fabulous-fox-theatre-st-louis-mo-3bdb0c24.html I wouldn't mind a bit if they were added to the RR-Hall, but it wouldn't be the end of the world if they never got in.

I'm especially interested in "Babylonia Wind" - as one track from it is on a J-Jazz v/a sampler CD I recently got (and it's quite good). My sampling of "Country Dream" seems to indicate it's a rather interesting and unconventional date too. Good luck to you too!

One NICE plus, that I was totally not expecting, was the bonus track on this new CD-reissue (which I also got). The Dusty prose says it was/is just an "alternate take"... https://www.dustygroove.com/item/894693?sf=Terumasa+Hino+Masabumi+Kikuchi+Quintet So says Dusty: An incredible session of Japanese hard bop from the 60s – recorded by the crack quintet of trumpeter Terumasa Hino and pianist Masabumi Kikuchi! The feel here is very much in that Blue Note modern mode of the late 60s – with drawn-out tracks that hit a slightly modal groove that reminds us a lot of the work of Hank Mobley and Lee Morgan from the time – and the album's recorded with beautifully crafted lead arrangements which then give way to lots of room for exploratory solos. At times, the feel is almost in the "new thing" mode, but the overall focus here is more strongly straight ahead – extremely evocative, and a real lost jazz treasure! Titles include "Long Trip", "Tender Passion", "Ideal Portrait", and "HG & Pretty". CD also features a bonus alternate take of "HG & Pretty". NOT so!! -- it's a full 15-minute LIVE version of "HG & Pretty" from the same year as the album was recorded (iirc) -- extending an otherwise rather short studio-session quite nicely!! I already had this date on CD (a much older Denon version), but I have to admit that the new mini-LP replications of the original packaging are quite nice. So I made an impulsive decision to upgrade for the bonus track. Glad I did!! EDIT: The live track also includes a trombone player (whereas there's no trombone on the studio date) -- not sure who (as if half the names really register with me yet, on all these Japanese dates). There may be some English credits somewhere in the repro-mini-LP -- but it's all super tiny type, and I didn't want to bother trying to get a magnifying glass on it at 1:30am last night.

Haven't heard anything back, I'm afraid (and I did PM the OP). Last time the OP was even logged into the board was June 20, 2017 (about 18 months ago). FWIW, it was the two Kiyoshi Sugimoto discs I wanted.

Got my treasure trove of new Hino from Dusty today, and sampled all four of the new "Deep Reality" Hino Discs (as I was packing to get out of town for the holidays tomorrow, for a week). Not every track all the way through, but I think I listened to about half of more of all four discs (and I skipped around on most of the very long tracks, to get a better sense of what they were probably about). Clearly I'll have to provide a much better disc-by-disc (track-by-track) review later -- but in a nutshell, I'd say that all 4 CD's are on the "free"-er side of the spectrum, to one degree or another. I think(?) only one of the 4 discs left me fairly cold (most of the disc), with all 3 of the others connecting pretty well (to "pretty darn well"). Two (2) of them were a lot more "outside" (less of a metronomic pulse to the proceedings) -- but one of those two more "out" discs was really outstanding -- tons of collective improv on that one (the largest group of all four discs, iirc) -- but it was really firing on all cylinders for as much as I heard. Very, very busy -- but I kept wanting to hear more, and more. 2 or 3 of the discs had guitar (electric), and quite interesting too -- very tart, angular, and hard to pin down. Taken as a whole (my overall impression of all 4 discs) -- as with most things in life, 1/3rd was outstanding (aka "DAMN good!!"), 1/3rd was merely good or "quite good", and the last 1/3rd was kinda "meh"... Every disc had highs and lows, and 2 or 3 of the discs were noticeably better over all, and I think(?) only one might be especially disappointing. I know, this is all useless unless and until I get into the nitty gritty -- and honestly, I'm not even sure which disc was which (I just put them all in my multi-player, and let 'em roll). Like I said, I had a million things to do tonight, before I can skip town tomorrow (as I'm now finally headed to bed after 1:30am Eastern). Lots more later, but not until I'm back from the holidays. No way I am playing any of this in the car for/with my 92-year old father as I drive from St. Louis to Kansas City (and back) -- so it'll all have to wait until around New Years.

Never knew where "Newk" came from either... Rollins was nicknamed Newk because when he and Miles Davis were taking a cab to Ebbets field in the early ’50s the cabbie thought he was Newcombe. Davis started calling him Newk from then on.

"That's Easy To Say" - single recorded by Wilt Chamberlain (when he was still a rookie, in 1960). Just stumbled on this on Reddit in the last 24 hours... https://www.reddit.com/r/ObscureMedia/comments/a7ch67/thats_easy_to_say_a_single_recorded_by_nba_legend/ (Close enough for jazz?)

I'll see your unrelated note, and raise you an equally and possibly even MORE unrelated note... ...from McCoy's Wikipedia bio... McCoy Tyner is the older brother of Jarvis Tyner, executive vice chairman of the Communist Party USA.[6] https://en.wikipedia.org/wiki/Jarvis_Tyner

I only met Andrew once, in 2003 (Iowa City Jazz Festival) -- the one and only time I ever got to hear him. Only spoke with him for barely a minute or two after his set (if even that long). It was kind of hard to get much of a conversation going, but I also didn't want to monopolize his time either (me not wanting to be one of those overbearing sorts of fans). He came off as a very shy sort of guy, which was my take at the time, and still my memory now. It was his quartet with Greg Tardy.

Brief discussion of Hill (part of a MUCH longer and wide-ranging discussion), by Masabumi Kikuchi (being interviewed by Ethan Iverson)... https://ethaniverson.com/interviews/interview-with-masabumi-kikuchi/ EI: What about Andrew Hill? MK: Oh I love him! He was one of my heroes. I was the producer for one of his records, Hommage? David Baker was engineer. I edited a lot of that record. EI: I gotta hear that! I don’t think I’ve seen it. MK: I think you can buy it somewhere but I don’t have it. EI: Alright. So did you hear Andrew in the 60s, the Blue Note records, or what did you hear? MK: Oh yeah!! And Black Fire is one of my favorites. EI: Yeah, mine too. MK: Yeah, it’s amazing. Did you know the way he lived in Brooklyn? Alfred Lion gave him a lot of money. So he bought a flour mill factory. EI: A flour mill factory…? Andrew Hill bought one? MK: It used to be on the riverside of Brooklyn so he bought it. EI: Really? MK: Yeah. It’s a three story building. He was living with a long time wife who played the Hammond organ. They lived there. There’s just one floor but it’s like a factory floor. They lived there quite a while. After a while they went to San Francisco or something I think. I like him. He was so pure and sensitive.

Here's a thread to discuss various nebulous interviews with Andrew Hill over the years (his interviews might be even more nebulous than his music). Specifically, what details or nuggets of information jump out?? I always learn a thing or two in every interview I've ever heard with him, but I'll be honest -- there are so few specifics in the discussions with him (despite the better efforts of interviewers), that it's kind of hard to all weave together into anything remotely cohesive. Print interviews are game, as are audio (what few there might be on-line). AND, let's also see if we can find any interviews with some of the many musicians who've worked with him, who mention any of their time or experience with Andrew. I know I've always appreciated talking the Ron Horton, or Greg Tardy -- for instance -- who both worked with him a bunch. And Scott Colley too. It would be interesting to have more of an extended Q&A with any of them, or others, about Hill -- than the random 5-10 minutes I've caught any of them between sets, or after gigs. (I can't remember if I've ever talked to anyone else who's played with Hill, off the top of my head.) Here's Hill's appearance on Marian McPartland's Piano Jazz -- which I'm re-listening to now (I'm sure I've heard it a couple times, though it's been eons). https://www.npr.org/2007/12/21/17460558/andrew-hill-master-of-melody And here are a series of four (4) interviews with Hill, which frankly, I can't remember if I've read all these before, and I'm only just skimming them now... https://tedpanken.wordpress.com/2011/06/30/andrew-hills-80th-birthday-anniversary/ But one of the more interesting nuggets I just noticed there, it this (which kind of doesn't surprise me, actually): TP: The three people you mentioned all went to DuSable High School on the South Side. Is that where you went? AH: No. I was one of the first children admitted to the University of Chicago pilot program. At that time, intelligence was based upon a certain middle-class standard, and if a person didn’t fit into certain this middle-class standard they wouldn’t have so-called “intelligence.” But for some reason I appeared to be bright. I was semi-autistic, but as they called me, bright. So they took me in and brought me to the point where I would be sociable. To be honest, Hill has always struck me as a bit of a savant -- and although I wouldn't want to put any words in anyone's mouths, more than one of the 3 musicians I mentioned up above mentioned various aspects and qualities about Hill that don't seem the least bit inconsistent with either that notion of being a 'savant' (which I hope doesn't carry any sort of pejorative meaning, which certainly isn't intended) -- or his self-admission of being "semi-autistic". ANYWAY, this topic isn't limited to any specific area of discussion -- really anything that pops up in interviews with Hill -- or about Hill by anyone with anything interesting to say.

I like it! Left turns a plenty.

The shipping-tracking gods say my big Dusty shipment -- mostly Hino! -- is due on Thursday. Fingers crossed, cuz I'm due on a plane for St. Louis Friday afternoon, going to the airport straight from work (so I won't be able to get any mail on Friday before I go). Hoping to spin them all a bit at work on Friday morning -- and then I may "subject" my Dad to hearing them in the car to and from Kansas City on Saturday and the following Thursday. Depends on how "out" they are; we'll see! He'll be 92, and he likes a good polka, or barbershop-quartet, or military band sort of thing, maybe once or twice a year (which is about as often as he makes any personal effort to hear music -- I don't know that he's ever listened to music on the radio, even (by choice) -- in his entire life). That's the entirety of his interest in music (always has been). My MOM, on the other hand, she's the one who had the record collection when I was growing up. She thought my early interest in Jimi Hendrix was unfathomable (she grew up in the 30's and 40's), but she came around (a bit) when I played "Little Wing" and "Castles Made of Sand" for her, and "Up From The Skies" -- especially the Gil Evans' versions, and the link. Anyway, I can't wait to dig into all this new Hino material, and I sure hope it gets here before I head out of town.

Great find!! Which also mentions Richie several times... Harold Mabern gives Bud’s brother Richie Powell credit for the bitonal piano intro on the Clifford Brown/Max Roach “Delilah,” saying it was a source for McCoy Tyner’s harmonic innovations. Tyner himself name-checks the younger Powell in an early interview for his “sustaining chords.” And then this is much farther down in Ethan's post, from a Downbeat interview with McCoy in 1963 (there's WAY more of it in the above link, but here's the parts that reference Richie/Richard): I was mainly influenced by records at that time, because there wasn’t too much jazz on the radio. Bud Powell and his brother were living just around the corner from me in Philadelphia, but they didn’t have a piano in their apartment, and Bud came to my mother’s house to play. I wasn’t familiar with his work and didn’t know who he was. It was hard to understand everything he was doing, but I liked it. Judging from the records he made with Max Roach and Ray Brown, I think he had reached his prime then, and I learned quite a lot from him and his brother Richard. THEY [emphasis added by RT] were profound musicians, harmonically and in many other ways. Bud had so much taste and creative ability that I couldn’t help learning from him. You are exposed to so much music today that you cannot always pinpoint influences. I know that when I used to listen to Max Roach’s band I was impressed by the harmonies Richard Powell used to play and by his use of the sustaining pedal on chords. In fact, one of the strong points of his playing was his beautiful harmonic conception. I never copied what he did, but I certainly appreciated it. I may find myself playing a phrase from another musician, but I never consciously copy, Guys ask me sometimes how I do this or do that, but I don’t have any preconceived formula. You can almost subconsciously acquire technical devices, of course, like Richard Powell’s way of sustaining chords. I think another musician can show you the way, maybe inspire you, but I’ve never wanted to be an exact copy of anyone else. I’m [only!] 24, and I guess I’m still evolving. You can’t rush maturity. —MCCOY TYNER AS TOLD TO STANLEY DANCE IN 1963 So that's like 4 specific references to Richie in this interview with McCoy in '63 -- which is quite a fair number.

Maybe it is Richie Powell?? Happened to be looking at Richie Powell's Wikipedia entry this morning (I was barely aware of him, I'll confess (), and looked him up wondering who the piano-player was on Sonny Rollins Plus 4 that came up on my Pandora this morning while I was on the subway) -- and there's a couple good pieces of circumstantial evidence in Richie's Wiki: [Powell's] relatively heavy touch and use of left-hand fourths influenced fellow pianist McCoy Tyner. (unsourced) Pianist McCoy Tyner, who grew up close to the Powell brothers in Philadelphia,[41] was influenced by their relatively heavy keyboard touch and their liking of percussive piano sounds.[42] Tyner also got some of his inspiration for chord voicing from hearing Richie's use of left-hand fourths.[43][44] McCoy's Wikipedia page also has sources that confirm that both Powell brothers were "neighbors". There's a Hal Leonard sheet music book (Jazz Giants: McCoy Tyner), that's one source (footnote #43) -- anybody have a physical copy of this? Footnote #44 is a lot more obscure: "Music in the USA – A Documentary Companion. Oxford University Press. pp. 644–45." OK, HERE WE GO... You can "preview" the "Music in the USA" book via Google books, and see parts of a whole interview with McCoy HERE. Then click on the "page 643 >>" hotlink right above the small quote, and that'll let you see that whole page, and the next few pages". McCoy talks about various specific details of Richie Powell's influence. Page 645 (FYI, the google preview will only show pages 643 and 645, but not 644 - rats!): But thus sayeth McCoy (on page 645): "Another person is Richie Powell. He used the sustaining pedal sometimes when he was playing with Max, and I heard that sound. The voicing wasn't the same, but he would use the sustaining pedal sometimes to get a flowing type of thing, because he wasn't really that technically a proficient kind of player. And then Bill [Evans] came along..." There's also a brief mention of Richie on page 643, but it's more of a fleeting mention (that McCoy heard him with Max and Sonny, and that McCoy had played with Sonny too, back when he (McCoy) was 18). AND, then from this -- CLICK HERE -- Richie Powell was buried just outside of Philly, barely 5 miles north of the city limits (in an all African American cemetery). And let's remember McCoy's quote that kicked off this whole thread: There is a piano player in Philly who probably may never leave; however, his talents and directions had a great influence on my playing.” "In Philly" (McCoy said this in 1973) "who PROBABLY MAY NEVER LEAVE". That "probably may" is a weird construction, and I wouldn't be at all surprised if he was refereeing to someone to who was deceased (and buried in -- or just outside -- Philly). There's your answer. Put two points on the board for the Rooster.

Oh, yeah, This one!!

Cool! But what I've been wanting to see for years, is the Tribute to Jack Johnson doc, with all that Miles Davis soundtrack in its originally envisioned context. How is is that none of that JJ doc has ever been been uploaded to YouTube, or any other steaming video site, DailyMotion, etc... -- ?? I've searched for that thing every 6-10 months for years, and next seen so much as a clip even. What gives??

Wasn't at the time, but it was an individual CD in 2002 - ?

Coltrane also pretty directly influenced the writing of "Eight Miles High" -- and The Byrds used to play "Milestones" in concert too. Check this out, at about the 10:00 mark (theme comes in at 10:05)...

Well, Miles is in the RnR Hall, isn't he? Why not Trane?