Rooster_Ties

I don't know 100% for sure, but several of the Saturns I have look pretty much exactly like that. What color is yours? (That looks like a B&W picture.) I think mine are all a sort of yellow, iirc. All my LP's are 1,000 miles away at the moment, remind me again to check in mid-June.

My thoughts exactly.

Tyrone Washington: Blue Note (though I wish to hell they'd make him ineligible for this thread!) Perception Blue Labor

FWIW, these are the first 6 jazz albums I owned (and could listen to repeatedly): "Kind of Blue" & "Nefertiti", and "Mode for Joe" (Henderson) & "Power to the People", plus Sun Ra's two latter-day dates on A&M ("Blue Delight" & "Purple Night"). Then I went crazy on Miles, mid-60's Blue Notes (with Joe and all of the sidemen from Mile's 2nd quintet), and LOTS more Sun Ra. At the time, Brubeck seemed really square to me. And the only alto players I liked were Jackie McLean, Eric Dolphy, and of course Ornette; then later Steve Coleman and Greg Osby. So a guy with a tone and approach like Paul Desmond's, seemed REALLY square to me. So the few Brubeck things I heard back in college were funneled through that frame of reference. Everyone has holes in their listening experience; it's just that mine tend to be some more obvious things that aren't holes for most other people. Thanks for the Youtube posts below, Jim. FYI, I'm on a PC without any sound until I get to DC in 3-weeks - so don't take that I'm not responding to them directly personally. (I'll check back to this thread when I get settled.)

I heard "Time Out" and probably 1 or 2 other Brubeck titles some 20+ years ago back in college, and never gave them another thought. But I just stumbled on a promo disc that I forgot I had ("Jam Session: America's Jazz Ambassadors Embrace the World"). It has two tracks from "Jazz Impressions of Eurasia", namely "The Golden Horn" and "Thank You (Dziekuje)" -- both of which I'm finding surprisingly convincing. A quick search around here and elsewhere, and I get the idea that a couple of the deeper Brubeck titles might be "Eurasia", and Jazz Impressions of Japan. Yes? No? Anything else 'Brubeck' that I should consider instead?? Based on the two tracks I'm hearing, I think my wife might like "Eurasia" too. I'm probably only up for 2 Brubeck titles, or 3 max.

Just saw this thread on another board I'm on, and had to share...

Do people with guns at the ready (while they're playing!) really read sheet music?

Now that I'm seeing it in a bigger representation, I'm pretty sure that the 10-inch I have only has "This Modern World" on it (not "City of Glass"). The cover I uploaded earlier (the one with both This Modern World" and "City of Glass") must have been a 12-inch. All this time I thought that 10-inch was part of "City of Glass", in part because I knew it from the CD-issue of "City of Glass" -- and I wrongly presumed that "City of Glass" was originally an LP-length work. You can tell this from the framing of my original question up above: "Hey, why are there two covers for (what I thought was) the same thing?".

Really?? When?? I should get to DC by about the 1st or maybe 2nd weekend in June. Waiting on tons of stuff yet to be done on our house (by people other than me), so I'm not comfortable buying that plane ticket quite yet. Repainting a significant part of the outside of the house, and some roof repairs - so the weather is a factor too. Yeah, that's what I'm seeing here, a thread on another board I should keep my eye on!

The image I uploaded might not be the exact same as the cover of one I have, but I'm pretty sure it's that same globe wire-frame superimposed over Kenton's face. (It's in DC at the moment, or I'd check.)

May 12th, this just in: Nuclear meltdown at Fukushima plant . More here.

The 10-inch of City of Glass that my mom had (the one I still have), is the one below on the left (with the expanded globe). But I just noticed this different cover (the one on the right) on-line (with the cool, translucent buildings!). What's the story of two different covers? - for such an crazy work that it would be hard to imagine there being two different covers for. I kinda wish I had the other one with the buildings (here it is even bigger). That's a pretty cool cover!

I've never cared much for Chopin myself. Too overwrought, and I've heard too many 'overly-romantic' interpretations.

My CD's are 1,000 miles away (else I'd look myself) -- can somebody remind me of the details? I'm not sure I remember anything about Bradford having supposed to've been on FJ.

Or rather, we HOPE Art Yard knows where to go for clean Sun Ra vinyl...

I never 'got' Ascension, but I took to Free Jazz fairly quickly. The playing on Free Jazz seems a touch more restrained, slightly "less chaotic" chaos - if you want a soundbite to describe it. Not having my copy with me at the moment, I wanted to remind myself of the personnel... Left channel Ornette Coleman – alto saxophone Don Cherry – pocket trumpet Scott LaFaro – bass Billy Higgins – drums Right channel Eric Dolphy – bass clarinet Freddie Hubbard – trumpet Charlie Haden – bass Ed Blackwell – drums I've forgotten, are the channels isolated well enough that one can listen 'mostly exclusively' to one half of the group without the other? - and vice versa? Maybe that's the dumbest idea ever (probably not a first for me!), but I think I would have tried that trick years ago, when I first discovered the piece.

Jazz Record Mart

Damn! I've got that 2-CD compilation of the Kashmere Stage Band, and a movie about them could be very interesting!

Maybe I need a hip transplant.

That could explain why it took me a good 10 years really, to finally get inside the Bitches Brew studio recordings (and even now, I'm not always sure I did). The funny thing is - I took to nearly everything Miles did in the 70's (even "On the Corner"), before I felt like I even "half got" those Bitches Brew sides.

Personally, I like it a fair bit better than Ascension, but I hear what you're saying. I think it's an important recording, and one that I can enjoy a lot. That said, I don't think it showcases the very best of what I like in the rest of Ornette's music -- which is really great tunes (writing), with incredible and imaginative melodies - both the heads, and the soloing (as a near organic extension of the heads). In that way, I see "Free Jazz" as an extension of the other kinds of things Ornette did around that time - but one that is better enjoyed 'viscerally' (almost as a sound collage), than with a keen ear towards every detail. For instance, I'm not sure there's quite the level of nuanced interplay to be found in Free Jazz, as in other smaller-group Ornette recordings from that timeframe. "Free Jazz" is a marvelous thing. But I understand and can even sympathize with Ornette fans who find it to be somewhat lacking, in comparison with a lot of other Ornette and similar extensions (Cherry, etc.). FWIW, I think "Happy House" is just a damn great tune, so I think it works better. Plus, to my ears, I don't think it sounds like two independent groups playing at the same time - quite like "Free Jazz" does. Haven't heard either one in a while, so this is all based on my memory of the recordings.

How many Phil Ranelin solos?? Does he get more than a chorus or two, once or twice? I'm sure it's a fine album either way, but I'll admit he's the draw here for me.

Yes, with Miles Davis's ex, Frances, as the greeter. Had a fine little conversation with her last time. Damn!

I'm not even sure if I'm artificially hip. How can I tell?

OMG, really? That's crazy. The Kansas City Symphony has had a near totally flexible season ticket policy, for the entire 15 years I've been going. Buy a half-season classical package, and move the tickets around however you like to whatever other classical concerts you want. There's an up-charge if you want to switch something to a pops concert (especially their most popular Xmas concert), but basically you can move everything around however you like. I'm the same as Hoppy T. Frog -- I cherry pick the 20th century concerts, and those with less played-to-death late Romantic stuff (especially concerti that one might not get to hear every decade -- like, say, Amy Beach's piano concerto - which I saw once in St. Louis). That's insane that the National Symphony and others don't do something similar. I'm sure as hell not going to buy any season ticket packages if they lock me into specific concerts. Hell, half the time there was one weekend I would be out of town, or something, and have to switch tickets around for stuff like that.