Rooster_Ties

Had my cat's teeth cleaned here in KC for like $200, maybe $230/$240 tops. $1,000 sounds crazy.

Sometime, somehow, through some delivery mechanism to the masses -- you guys GOTTA cover one Larry Young and John Patton tune each. No, it doesn't have to be released on these official "big boy" releases (I don't want to short you any space for your own tunes, and covers of your own desire) -- but man, somehow (some day) I gotta hear you guys remake something off "Mother Ship" -- if I have to scream for it. Remember my thread about us coughing up some real change ($$$) - in exchange for you bowing to our requests?? Someday, some way -- I want 'Big O' versions of something specifically off of "Mother Ship" and something specifically off of That Certain Feeling -- which was the BJP date with Jimmy Ponder. (And I'll put my money where my mouth is -- probably $100 per tune.)

Three discs purchased (eBay user kc_tom). Thanks for the free shipping! I may go back for a couple more later tonight. And you may be able to combine shipping for discs bought by another KC Organissimo guy too - I just sent him an e-mail about this thread. Much appreciated. As of March 26th, still waiting on a confirmation e-mail with the order total, without shipping costs.

I think this is an excellent choice. All of the best live groups I know (national, and local acts too) -- in the end, ALL of them are only as good as the extent to which they listen to each other, and respond to each other, almost second by second. When one person solos, having the other guys respond in mid-solo, and then (perhaps most importantly) having the soloist respond to the other guys (responding to him) is one of the things that REALLY makes great performances (and recordings) happen. I'll take musicians who really, really listen to each other in performance, over pure technical skills -- any day of the week. (And of course when you've got both, you've got bliss.) Collective improv (both literal - and figurative, with one soloist more out front) is a huge key factor in all the groups I like best. Think of Miles' 2nd great quintet, a.k.a. the "telepathy" thing. I've heard too many groups with great soloists - but where the rest of the group weren't really listening that closely (because they weren't ever responding to each other) - and frankly I'm getting a little tired of it (even national acts -- actually, usually national acts). The more I listen, the more I think "group interplay" is perhaps the single more important dynamic in making this kind of music work -- the icing too rarely found on the cake. Best of luck with the recording. Really looking forward to the results!!

Guess no bonus material.

And another!! Edit: This might be the full-listing of 32Jazz issues. (Or something close to it.) CLICK Edit2: OK, maybe just a starting point -- I just found a Kenny Barron 32Jazz (in the AMG) that isn't in the list I just linked to.

By the way, is this 2006 Japanese issue the only SINGLE DISC issue of this material?? (I know about the 32Jazz "two-fer" coupled with "The Iron Men" -- I've got one.) Shame this material isn't more available for people.

Another clue -- there's a "Japanese issue" listed (HERE), which says the exact same thing as the main AMG entry. But then under "Releases" (under this 2nd, Japanese entry), it says... Year -- Type ------ Label ------ Catalog # 2006 --- CD --- Pony Canyon - 30031 Edit: The UPC appears to be "4988013287501". A google search on that number gave 40+ hits, none of which have any more than 4 tracks. (Many didn't have any tracks listed at all, but about 20 of them did -- and all 20 were 4-track CD's.)

Not to rag on the AMG too much. After all, it's worth every penny I've ever paid for it. Considering all the people who edit the thing, it's no wonder there's errors. That said, it's still a valuable tool 90% of the time or more.

This AMG review of "Concert Ensemble at the Berliner Jazztage" says it was reissued in 2006 with bonus material. Any truth to it?? And if so, what specific release?? And what's extra material?? SOURCE Is somebody at AMG (and I'm NOT accusing Scott, cuz anybody could have edited the review) maybe confusing this with the CD reissue of "Stepping Stones" - which does have bonus material?? The AMG says the Stepping Stones CD came out in 2005, but that's probably close enough to '06 to be the source of the error. Or is there really more material from "Berliner Jazztage" out there??? (None of the on-line Woody Shaw discographies/sessionographies have any extra material listed.) Probably my favorite Woody Shaw leader date, for a variety of reasons.

We trust you're plotting some suitable revenge on said person. Be sure to report back here with the results.

And how about this book?? Jazz Next Standard (book) -- Spiritual Jazz -- $21.99 Book (Item 422865) Rittor (Japan), 2006 An essential guide to the hippest in jazz from the 60s, 70s, and 80s -- a wonderful book that specializes in underground spiritual jazz recordings! The volume is similar to other Japanese discographies we've carried -- with images of record covers, session dates, titles, and player information -- plus additional text in Japanese -- and the whole thing's a wonderful guide to lost soul jazz treasures from some of our favorite years in jazz -- including a wealth of indie and small label pressings! The book is divided up into different sections -- Part 1 featuring "25 Masters", with individual passages on Gary Bartz, Carlos Garnett, Billy Harper, Weldon Irvine, Don Cherry, and many others; Part 2 features "Fabulous Labels", including Tribe, Nimbus, Black Jazz, and Strata East; and Part 3 features "Extra Classics" -- more albums that are really lasting classics from the post-Coltrane generation! Book is softcover, 160 pages, with most images in color! I already have the 1987 (2nd Edition) of "The Complete Blue Note Book - Tribute to Alfred Lion" (Jazz Critique, Special Edition) -- which is mostly in Japanese, but is a nearly complete discography of all released Blue Note albums (discography, not sessionography). I bought it at Euclid Records (I think) back in the early, early 90's -- before I ever knew about the Blue Noe discography/sessionography. Is this "Spiritual Jazz" Japanese book pretty similar?? Sure looks like it.

Workin' on a NEW Dusty order. Anybody know anything about any of these, good or bad?? (Again, it's "Buzzword Bingo" time.) East New York Ensemble De Music -- At The Helm ... CD . . . $11.99 (Item: 81551) Ikef/Folkways, 1974 An extremely righteous bit of soul jazz -- originally issued in a very small pressing by Folkway Records, at a time when the label was doing some great underground recordings! The sound is loose and free -- spiritually building in a manner that recalls the work of Ahmed Abdul Malik, Phil Cohran, and some of the AACM -- and the album has a style that's exploratory, but never goes too far out, or loses its sense of rhythm and swing. Tracks are longish, and the core group features soprano sax and Korean reeds by Bilal Abdurahman and vibes by Ameen Nuraldeen -- plus guest work on bass by James Smith, and appearances by a lot of different world percussion players. There's a nice Eastern feel to some of the tracks, and titles include "Mevlana", "Ti Ti", "Sun Flower", and "Bent El Jerusalem". Akira Ishikawa Count Buffalo Jazz & Rock Band -- Bakishinba -- Memories Of Africa (Japanese paper sleeve edition) ... CD . . . $24.99 (Item: 471192) Polydor (Japan), 1970 One of the funkiest records ever from Akira Ishikawa and his Count Buffalos band -- a hip little groover that stands head to head with some of the best funky jazz from the US and Europe of the time! Despite Akira's earthy look on the cover, the record's got a relatively electric feel overall -- thanks to some sweet electric piano from Hiromasa Suzuki and organ from Norio Maeda -- both of whom work together on most numbers, with a great sense of flow between the keyboards! The rhythms have some Latin and African percussion added on the bottom, which gives the grooves a nicely chunky feel -- and some cuts have some sharp-edged tenor solos from Takeru Muraoka, who further deepens the soul of the set. The album's a really tremendous one through and through -- as righteous as a lost American funky fusion set from the early 70s -- and titles include "African Deer", "Sunrise", "Sandstorm", "Blue Soul", "Bakishinba", and "Mirage". Harold Land -- Peace-Maker ... CD . . . $21.99 (Item: 430101) Cadet (Japan), 1968 A fantastically beautiful record that stands as the first meeting between Bobby Hutcherson and Harold Land -- an album that's possibly even better than the more famous Blue Note work by the pair! This is one of those "once in a lifetime" jazz sessions -- filled with magical interplay that's made the record a favorite with collectors for years, and done with a sound that's as lyrically graceful as it is soulful and righteous! Hutcherson's vibes are at their warmest 60s mode, but still have some of the angularity of his more modern sides for Blue Note -- but Land is the real discovery here -- as he steps out with a fluidity that surpasses any of his earlier hardbop albums, a flowing exploratory style expressed on both flute and tenor -- with a mode that's years ahead of its time, and sounds a lot more like work on labels like Strata East or Muse from the 70s. Tracks are nearly all originals by Land, and are the kind of thoughtful jazz compositions that show up on a rare few records from the 60s -- all of them are great, and sparkle with creativity and a subdued sense of righteousness. Titles include "One For Nini", "Angel Dance", "The Peace Maker", "40 Love", "Stylin", and "The Aquarian". Harold McKinney -- McKinfolk -- Live At The Serengeti ... CD . . . $11.99 (Item: 471082) McKinney Arts, 1996 A really great recent concert from this legend of the Detroit Tribe Records scene of the 70s -- a set that's got an incredible depth of imagination and soul, almost as much as Harold McKinney's work of years back! The group here is a wonderfully hip one -- with former Tribe artists Wendell Harrison on tenor and clarinet and Marcus Belgrave on trumpet -- plus additional players who include Kiane Zawadi on trombone, Reggie Workman on bass, Francisco Mora on percussion, and Jimmy Owens on trumpet. There's a bit of vocals on the record, but never that much -- and most tracks are long and open -- freely exploratory, but never too far out or avant-styled -- just soulful and spiritual, in the true Tribe Records tradition! Titles include "Wide & Blue", "Like What Is This", "Waltz For Ima", "Juba", "Libra Ahora", and "Conjure Man". Johnny Pate/Four Tops -- Shaft In Africa (limited LP sleeve edition) ... CD . . . $16.99 (Item: 385260) ABC/Hip-O Select, 1973 One of the greatest blacksploitation soundtracks ever -- a massively beautiful record that goes beyond any cliches of the genre, and serves up a fantastically unique batch of tracks! Chisoul arranger Johnny Pate did the music for the film -- and (dare we say it?) it's even greater that Issac Hayes' work for the first Shaft film -- with a depth, sensitivity, and soul that's really amazing -- and which has kept the record at the top of our crates for many years. The 4 Tops turn out a great later vocal on the album's theme tune "Are You Man Enough" -- and Johnny himself does stellar work on the tracks "Shaft In Africa", "Headman", "You Can't Even Walk In The Park", "El Jardia", "Jazar's Theme", and "Truck Stop"! Jesse Sharps Quintet/Pan Afrikan Peoples Arkestra -- Sharps & Flats ... CD . . . $11.99 (Item: 369246) Nimbus, 1979/1985 Soaring spiritual soul jazz from the LA scene -- a CD that features a beautiful performance by the Jesse Sharps Quintet, plus a longer extended track from Horace Tapscott's Pan Afrikan Peoples Arkestra! We'll be honest in saying that we'd never heard of Sharps before this CD -- but he's a heck of a great saxophonist, with a sound that recalls the glory days of the Strata East scene, and the beautiful post-Coltrane Muse sessions by Earl & Carl Grubbs. His group for the session features some excellent work by the great Nate Morgan on piano -- driving away in long, rhythmic passages that are very much in the mode of Morgan's own Nimbus recordings -- and carried through with an equal amount of soul. Horace Tapscott joins the group on two numbers as well -- before stepping over to lead his expanded Pan Afrikan Peoples Arkestra on the CD's extra cut -- a composition by Sharps that's entitled "McKowsky's First Fifth" -- played by a great Nimbus-esque group that includes Adele Sebastian on flute, Sabia Mateen on tenor, Billie Harris on soprano, and Horace Tapscott on piano. Other titles on the CD include "The Goat & The Ramjam", "As A Child", "Mike's Tune", "Macrame", and "Carnival" -- and the whole set of tracks is easily one of the greatest recordings on the legendary Nimbus label! Reuben Wilson -- Cisco Kid ... CD . . . $10.99 (Item: 464772) Groove Merchant/Unidisc (Canada), 1974 One of the best 70s albums by this funky organ player -- quite different than his work for Blue Note, with a messier funkier edge that's very nice! Reuben Wilson's working with an all-hip lineup, with players who include Melvin Sparks on guitar, Garnett Brown on trombone, Bob Cranshaw on bass, Mickey Roker on drums, and Ray Amando on conga. The groove has a nicely choppy approach to rhythm, which you'll hear on the nice remake of "Cisco Kid", a big sample hit over the years -- plus the sweet originals "Groove Grease" and "Snaps", both of which are hard and funky! The album's also got a great cover of "Superfly" -- and other tracks that include "The Look Of Love", "We've Only Just Begun", and "Last Tango In Paris". Reuben Wilson -- Sweet Life ... CD . . . $10.99 (Item: 464763) Groove Merchant/Unidisc (Canada), 1972 A great groover by Reuben Wilson -- and one of his best albums ever! The funky organist really takes off from the sound of his earlier Blue Note albums here -- hitting a vibe that's sharper, darker, and plenty darn righteous -- still small combo jazz funk, but with a depth that we wouldn't have expected a few years before! The group's a great one -- with Ramon Morris laying down some great lines on tenor sax, plus Bill Hardman on trumpet, Lloyd Davis on guitar, Mickey Bass on bass, and Thomas Derrick on tightly funky drums. The album features Reuben's amazing cover of "Inner City Blues" -- which has a great jagged groove that was sampled years back by Tribe Called Quest -- and it also includes the groovy cut "Creampuff", plus "Never Can Say Goodbye", "Sugar", "I'll Take You There", and "The Sweet Life".

Which one? - if I might inquire. Cheers!

Many thanks, guys. The bird at the keyboard is quite cute, Chuck -- and Chris, the actual Rooster™ ties with my avatar was a nice touch!! I'm mostly in a better place this year, than I was last -- so I'm looking forward to a pretty good rest of 2008. Hard to believe I'm already 39 years old.

Thanks for posting that, Jim. Very interesting. Dug out my Rhino double-disc reissue of Superfly, and although Mayfield is given 100% of the composer credits (there are no co-credits of any sort), there is this in the notes...

I'm no Quincy expert, to put it mildly -- (I'm pretty sure seen way more of Jack Klugman's "Quincy" -- than I've ever heard music by Q) -- but knowing what I've read here and elsewhere about the man... ...I was a touch surprised that he was able to pull off conducting the Miles and Gil Evans charts "reunion" concert in '91. Yeah, I know, they fixed a bit of the recording in post production (or so I've heard, somewhere). But still -- it had to have been at least a "pretty good" performance to begin with (and it was performed and recorded live -- so it's not like a complete cut-n-paste studio job --- like the original (come to think of it ). In any case, frankly, I'm assuming those kind of charts don't just come off well (or even "pretty well") all on their own, no matter HOW skilled the players. How much credit should one give Q's conducting skills, in terms of this particular effort??

I'm generally not much of a fan of the instrument -- almost no matter who's playing it. I can take Wayne with Miles in '69 and '70, and that's about it (and not so much Wayne withOUT Miles) -- but that's more about context, than the instrument itself. Sam Rivers is OK too, but that's also about context, and Sam's tunes -- and even then, I'm still a MUCH greater fan of Sam on tenor (or flute) than on soprano. But I do have ONE major exception to my "avoid soprano sax" rule, and that is NATHAN DAVIS (at least in the 60's). Can't say I've heard a lot of recordings with him on soprano, but double god damn if he doesn't play the instrument better in tune than just about anybody else I've EVER heard. His soprano work on "Happy Girl" and/or "Hip Walk" is sublime. If more soprano players could play as well in tune as Nathan Davis does on "Happy Girl" and "Hip Walk" -- I wouldn't hate really dislike the instrument the way I do.

FYI, at the same link I posted back in 2005, there's more from this same combo -- with Ray Anderson too... (Rediscovered this thread searching for something else. And man, that audio clip (full-length 10-minute clip) from the album Jim posted about in the first place -- still REALLY burns. )

Any opinions of this?? The African Suite for [Piano] Trio and String Orchestra The clips from Amazon (link above) sound interesting.

Yup!!

Me too. (Searching for something else, and stumbled on this thread.)

The 'Wiki' idea is one well worth considering. I too miss Jazzmatazz somethin' fierce.

Up, for no particular reason. Fans of Joe in the 70's, check the Youtube link in post #1. No Joe, but interesting never the less.