Rooster_Ties

Much as I adore "Beatrice" (the tune, which is maybe one of my two or three alltime-favorite jazz tunes ever!), I do think the degree to which it's 'bound by chords' would have been very much in oposition to Miles wanting to break away from the 'tyranny of chords'. (I'm writing this instead of what I was tempted to post, which was to suggest it might have been interesting to hear Miles playing "Beatrice" -- but the fact is that it probably wouldn't have worked.)

Just listened to both of the long, trippy clips from Youtube - and am gonna pull the trigger on this one. As I mentioned before, if this had been on any other label and by any lesser-known leader, I think it would be better though of (or the glass is definitely half full, even if you want to insist it's half empty).

Bump to ask again if "John Coltrane" is Bill Lee's best-known tune? Or if not, then what is? (Not that anything he wrote is especially well known.) Here's a couple recent versions.

Wasn't sure how to vote. Back in the day I could get of one side with all the connecting edge-pieces in their right places, AND I could get the middle-layer too (all the way around). It was just the last "side" I could never get.

Always been curious what a Miles studio date might have sounded like with Sam. Doubt it would have been a perfect fit, but I'm sure it would have been interesting.

Doubt anybody here will like this, but I'm posting it anyway. I'm not much of a big BadCo fan, but I'm totally down for Free, and have a soft spot for The Firm. The Firm, with Paul Rodgers and Jimmy Page...

Quite a number of Bill Lee tunes to be found on this album (which I've never heard, but have always been curious about)... The Brass Company, Colors (Strata-East, 1974/5) Is this worth tracking down? It sure looks good on paper.

Would it be fair to say that "John Coltrane" is Lee's best known tune?? (I've cued my link to the beginning of the head, and to the best known recording that I know of it, namely from Clifford Jordan's "Glass Bead Games", Strata-East 1973). Or if not "John Coltrane", are there any other more notable Bill Lee tunes that are or should be more widely known?? FYI, Lee also penned two other tunes from the same "Glass Bead Games" session(s): "Eddie Harris" and "Biskit". Also, FYI, "John Coltrane" was co-written by Bill and Clifton(?) Lee (how is/was CLifton related to Bill?) -- and the other two were only by Bill Lee.

Is that voice-over, by any chance, Burgess Meredith?? More than "just kinda" sounds like it to me, though I'll admit I probably haven't heard Meredith's voice in 20 years (at least). Here's Burgess reading some Ray Bradbury, if anyone wants to hear him in 'non-Penguin' mode.

Question for any of my fellow Kansas Citians: Did she come up as a performer in KC? If so, what venue(s) did she ever perform in (in and around KC), assuming she was ever a local artist in KC. I'm assuming she was long gone by the time I caught wind of her a couple years ago (back when I still lived in KC, having moved to Washington DC about a year ago).

Second Communion is fantastic, to put it mildly. Another favorite... Baikida Carroll: Marionettes on a High Wire (OmniTone 12101)

When you've otherwise got no hope, then you might irrationally bet on your 'only' hope. I think actively targeting and selling lottery tickets to the poor could almost be thought of as cruelty. For those with almost no other options other than a one in a million shot (and a random one at that), it's pretty disingenuous to essentially pray on people's hopes and fears, practically inciting them to give away some of what little discretionary moneys they might have.

Thanks Chuck. I'll have to look those sessions up when I'm back home tonight (I do own a copy of of the Cuscuna/Ruppli "The BN Label" book). I thought it was four complete 'album-length' sessions they mixed up, but I guess the Morgan/Tyner one wasn't as productive.

On vinyl, yes - but for the first of the CD releases of these sessions on Blue Note Michael Cuscuna already kept the sessions intact. I always thought they sounded great in session order. Can somebody remind me how these were released on CD the first time around. Were all 4(?) sessions released on four CD's? Or, rather, how many separate sessions were there? - and did each one see a separate CD issue back during the McMaster era? The only one I still have is the "No Room for Squares" with the complete session that Andrew Hill is on -- but in retrospect, I kinda wish I had all of the 'session'-centric issues of this material.

Congrats for sure! 3/15, and one at #4 is mighty damn impressive.

today's plastic disposable junk now won't rust, what with indestructible plastic glued together apple devices, nor will it ever be green again. what will our successors think, if we have any, when they unearth our plasticky landfills? "those strange people must have worshipped tiny plastic toys." BZZZZT!!!! The next correct response was supposed to have been "sleeps".

never

Seems as good a place as any to post this nearly hour-long interview I found on Youtube... Rare Conversation with John Scofield and Joe Henderson: 9/3/96

Anybody know this little appoximately 4-minute obscurity?? (It appears that Joe and Woody are only on this one track, source.) Date: September 1970? Location: Los Angeles, CA Label: Los Angeles John Wood (ldr), Joe Henderson (ts), Woody Shaw (t), John Wood (ep), Mark Drury (b), Lenny White (d), Anthony Waters (cga) a. Guillermo's Ants Los Angeles LP 12": LAPR-1008 - Nearer (1970) Dates uncertain. From the personnel listed, it can be assumed that this session took place sometime in the fall of 1970, when Henderson formed his own group with Woody Shaw and Lenny White.

Well, as long as we're on the subject of store names (or brand names) that raise the eyebrows... ...there's always "fcuk" (link goes to Wikipedia article on the history of the brand name), which I found more interesting than I'd expected to.

Any dates with Hubert Laws on tenor that I should have? I'm guessing the one (or is it two?) Harold Mabern date(s?) Laws appears to be on in the '69-'70 range. If there are two, which one is better?

Bump for another question I hadn't seen any discussion of yet... Anyone know anything about Lawrence Marshall, the director of the vocal jazz group(s) on Andrew Hill's "Lift Every Voice"?? Maybe the most difficult choral parts of any jazz date I can think of.