Rooster_Ties

I'm pretty sure read somewhere a while back that she was in Greg Osby's band for a time. That's some cred (of some sort) as far as I'm concerned, not that what I think on the subject matters much. And how about we all agree that she is at least "recently precocious" by most measures.

I used to have one or both discs by Franco Ambrosetti, called "Movies" and "Movies, Too". Interesting selection of tunes, as I'm now recalling from seeing the links above.

Just got all three of David's discs in the mail, and I wanted to recommend them highly. Really strong stuff. I'm especially taken with the "Point of Departure" band, and their development of Miles' rehearsal take of Herbie's "I Have a Dream", plus remakes of not one but TWO Charles Moore tracks from the Kenny Cox Blue Notes -- plus beautiful versions of Tony Williams' "Black Comedy" (from Miles in the Sky), and Andrew Hill's "Erato". The disc is a piano-less quartet, with guitar (which really adds nicely to the proceedings), and just burns. Highly recommend his other two discs too -- a steal to get all three shipped to your door for less than $30. Thanks David!!

Here's one on eBay (and another one, and ANOTHER one) -- and 2 or 3 more on Amazon that are a little bit more expensive.

The greater good would be to keep the link to the article -- it's a damn good one.

It's always possible that she conflated two different productions. Hell, it might even be ME, who's memory of what my mother told me 15+ years ago is rusty. In any case, I know she saw both Cunningham and Partch (either together, or perhaps more likely separately) during her collage years, at some point or another -- and they each left a pretty big impression on her.

Before anybody jumps this guy shit as just being spam, he played a track off Andrew Hill's "Andrew!!!" -- AND one off Reggie Workman's "Summit Conference" (with Sam Rivers and Andrew Hill) just two days ago. He knows the secret password, far as I'm concerned. Welcome David!!!

That kind of "everything in your face" sound drives me crazy (and not in a good way). I'm thinking of some Chesky recordings (McCoy Tyner's "New York Reunion" in particular), that suffer from such a treatment.

I used to think that.

Thanks. I hope to try and do a meet-up with folks once I get settled to the area myself in late April or May. (All our stuff is moving to DC in a week, but then I'm back here in KC for 2-3 months working on the house to get it on the market.)

My mother swore she saw a Merce Cunningham production in collaboration with Harry Partch, back in the 50's, when she was in college at the University of Illinois. I know Partch was there during that time (source), but I've never been able to verify that Cunningham and Partch ever collaborated. She could have gotten her names mixed up, but she was sure that Cunningham was there and did something with "all these homemade instruments, by somebody who was associated with the University" (which I always presumed to be Partch, since she was there during the right time-frame). Had hoped when I clicked on the link in this thread that I might have some evidence, finally, of this (supposed) collaboration.

Hard as hell to find, but well worth owning. 10 years ago I had one, loaned it to somebody and never got it back (forgot who I loaned it to, which makes it hard to follow up), and replaced it after 2 years of keeping my eyes out for another one on-line. A great document of that band. All my stuff is in boxes for my upcoming move, but my memory is that it's from July of 1969.

Saw this over on the Hoffman board, and was surprised it hadn't shown up here yet (at least not that I'd seen)... More here: New Creed Taylor compilation includes never-before-heard John Coltrane demos

New request for a couple hours help unloading a moving truck, on 1/28 -- anybody available??

Does it have any bonus tracks?

There's also this Naxos CD, though I'm not certain if it's the same trio or not... Schifrin/Schuller/Shapiro: Piano Trios I think most Naxos CD's can be streamed through their own website too.

Very few of the images were showing up for me last night. All I saw was the phrase "posted image" where about 75% of the pics should have been. Lots more (but not all) are visible (to me) this morning. Kinda weird.

I was wondering about that John/Johnny Williams thing. I'd never heard that before (that the film composer had started as a jazz pianist). Somebody needs to set Mosaic straight about this. If it's true that Johnny Williams isn't THE John Williams, that's just embarrassing. Surely the liner-notes for the set itself don't/won't reflect this, do they?? Seriously, can somebody more in the know contact Mosaic about this??

From the "sexy" album covers thread.

Yeah, that seems to ring a bell with me too, as to what I've heard in the past. The lack of such discussion around such places as the Steve Hoffman board would also, anecdotally, tend to support this as well.

Why would the writer call MJQ one of the most controversial groups of its time? 'Its time' spanned 30 years, and I wouldn't call the music controversial.. As far as fading, before the end of the record store era [i.e. the closing of Tower and Virgin] MJQ titles were always quite well-represented in the stacks. Perhaps I misread the Mosaic write-up.. I'm assuming that's a marketing department dog-whistle for folks like me who might otherwise assume the MJQ is just some sleepy outfit who only played "nice and pretty music that was easy on the ears". (In other words, I read that "controversial" with positive connotations!) Note: I never had quite that impression of the MJQ (or at least not for long), but I am aware that it is out there. They did something similar with the initial marketing of the Denny Zeitlin Select (and it worked, cuz I bought one!). The on-line description of the Zeitlin currently on the Mosaic site doesn't reflect this, but I'm just sure I read something (from Mosaic) that piqued my curiosity, and I could swear it was along these same lines.

"Now" is an amazing date. I think the vocals are definitely off-putting in a couple spots (where McDaniels yodels like a damn screaming banshee for a good minute or more - yes, 'yodels' is the word), but otherwise his contributions are indeed a FINE and unexpected ingredient to one hell of a fine album. The symphonic bonus tracks are nice too, kind of a more 'square' version of some otherwise completely 'unsquare' material. In some ways, "Now" might be one of my all-time favorite Bobby Hutcherson leader dates -- certainly co-equal to one or two others (I'd have to give that some thought as to which ones). "Now" is like nothing else in the entire BN catalog. Great writing and arranging on the date too. Really unique to the cannon.

Have been meaning to get Saxophone Masters for some time, and been eying this one too... Up to the Minute Blues (Disc-Union/DIW) Anybody know it? -- according to the AMG it has 40(!) more minutes of material from the very same session(s) as Saxophone Masters. (Of the 6 tunes, the first and last are from another (unrelated) session -- but the 4 tunes in the middle are from the Sax Masters session(s).) Of particular interest to me is them doing Joe's tune "Afro Centric", the 2nd track off "Power to the People" (1969) -- a tune I not aware of ever having been covered before (at least according to the AMG). That Joe's actually ON the tune too, is all the better. I really should move on getting these sometime, have wanted both for ages.

As Chuck would simply say... They were cheap to do, that's all.

The cover with the chick is the original Reid Miles cover. Covers for it, and 8 other sessions were prepared for release, but never actually got released back in the day. The original production materials were lost, but some pre-production materials were found -- which only had b&w versions of what the covers would have looked like. The EMI art department folks took it from there, colorizing them to what we know today. It's all in this thread, though no one post covers it succinctly. If you only read Chuck's posts there, and the things he quotes from others -- that's probably everything.