Rooster_Ties

In agreement here. "Groovin' Blue" (or whatever the name of the date is with Carmell, which also includes Bobby Hutcherson(!), I might add) is nearly the equal of "Katanga!" in my book. I don't specifically dislike the first two organ dates (all of disc #1), but discs #2 and #3 get the most spins for me. Well worth the purchase price, especially if it's on sale.

Still, for anybody doesn't have the first Hill select, now's the time.

What the "h"?

I heard slightly over 200,000 per day on MSNBC earlier tonight. In either case, it's a LOT of traffic, to be sure. MSNBC just said "over 100,000" -- so who the hell knows.

OK, here's a thread to post descriptions of books that you would LIKE to purchase and/or read, if only they ACTUALLY existed. And if anyone knows of any books that fit (or sort of fit) the various descriptions posted here, please do tell!! (And provide links, where possible.) First up, a couple books I've been pining for in recent years (both ideally kinda half "coffee-table" book (with lots of great pictures and diagrams), with a half "semi-serious" scholarly but approachable text)... 1) A rather deep survey of American churches that were designed and build during the first half of the 20th Century (or perhaps up to as late as the 1960's or maybe 70's). The focus should NOT be on "neo"-traditional styles (so no neo-Gothic, please) -- but rather on MODERN styles (or styles that were modern at the time they were built). I'm thinking Prairie Style, Deco (both Zig-Zag and Streamline-Modern), and various post-WWII styles -- and everything in between. (But again, no neo-Gothic, please.) 2) A similar architectural survey book (and similarly deep), but with a focus on Synagogues and other non-Christian places of worship (Mosques, Buddist temples, etc...). This book need not focus exclusively on "modern" styles, but rather a complete survey of architectural styles and a general history of non-Christian places of worship in the U.S., from what I would guess date back to the 19th Century (probably the mid-1800's? -- if the focus was on buildings still in existence), on up through the current decade. How about you?? What books do you wish existed??

I heard slightly over 200,000 per day on MSNBC earlier tonight. In either case, it's a LOT of traffic, to be sure.

Dramatic pictures from after the event. (from the Minneapolis Star Tribune)

Oddly enough, this FARK.COM thread is a good place to occasionally find links to interesting info about this ongoing event. Start at the bottom of the thread (the latest postings), and work your way up. Yes, 97% of what's there isn't the least bit important (just people like us talking about the events at hand) -- but there are occasional links to relevant information. (That's where I found a link to the sports reporter live-blogging from the game.) Warning: There's TONS on snark on Fark, even on a serious topic like this.

Sports reporter 'live blogging' from the game...

How is Zabriskie Point? I know the soundtrack (due primarily to the Pink Floyd material it included), but have never seen the film. Worth renting? I did see Blow Up in a film class back in college (and several years later discovered that Herbie had done some of the soundtrack).

Five-Disc Jazz Anthology Still Unopened

Hi all, My wife and I are planning a world-wind 12-day vacation to Boston and New England this fall, and are of course wondering what all we should take in. We're museum/history/historic-architecture* junkies, and yes -- we will be doing some "leaf peeping". We've about set up most of our accommodations (B&B's mostly, even in Boston). After about 4 days in Boston, we're planning an 8-day drive/loop that will include the southern tip of Maine, New Hampshire and Vermont, western Massachusetts, Connecticut, and Rhode Island. (Or the big loop first, and then 4 days at the end in Boston.) Any significant jazz events going on between Oct. 4th and 16th?? (We'll be in Boston either the first 4 days, or the last 4 days -- not sure which, but we should know for sure in a few days.) Classical too, or anything else interesting. Any reason to make a pilgrimage to the Mosaic Mecca, in Stamford, CT?? – other than shaking hands with MC?? I don’t suppose I could get him to play "The Trainwreck" for me?? (Not a chance in hell, I would expect, but it never hurts to dream, right?? ) We’ve got several guidebooks for Boston and the larger region, but open to suggestions for things to do and see. Thanks!! *by "historic architecture" - I should clarify that we're especially interested in post-1900 architectural styles, either early 20th century (FLW, Deco, etc...), or more "mid-century" modern stuff -- like Louis Kahn (who I understand has a few buildings in the region, particularly two things at Yale, if I remember correctly). I really need to do my homework about this before we go. (I'm not only/exclusively interested in Kahn, but he was the first name I could think of.)

ferry insurance...

Watermelon Man, like you've never heard it before. (Kinda fun, actually. )

more Dewey Johnson on video, from the same Youtube user (same session, seemingly).

Here's a thought -- perhaps some of Miles best, most agressive pre-1965 playing occured when he had sax-players that weren't "really pushing it"-type players. (Edit to say that Jazzbo snuck in while I was writing this long-winded post of mine, saying much the same thing). For various reasons, I've never been as big a fan of the Miles recordings with Hank (so I haven't heard those dates in probably 10 years) -- but I do know that Miles was totally taking no prisoners on that live Stockholm date with Sonny Stitt from 1960 (the one paired with the Miles & Trane live material, also from Stockholm, on Dragon). Miles was one who always seemed to want to balance fire and heat (which he usually found in his sax players), with 'cool' and warmth (more often in his own playing). But when his sax players weren't "pushing it" as hard, Miles stepped up more aggressively more of the time to compensate -- i.e., with Hank, Stitt, and Coleman (anybody else I'm forgetting in that '60 to '64 range?). Sam Rivers is the outlier here, but (if I recall), Miles plays with more lyricism on that Miles in Tokyo date (which I haven't heard in years -- the "Seven Steps" box is the last Miles box I have yet to get), and also one other Miles & Rivers date (also from Tokyo), that’s floating around. One would or could argue that Miles finally got the right balance (or his right balance) with Wayne. But back to Miles playing with Sonny, Hank, and George -- for my money, that's sometimes some of Miles' best playing from that era (at least to my tastes), because of his trying to push it more, to compensate for his sax players at that time.

I only have the "Soul Man / Soul Food" Ace two-fer (which I purchased primarily for the Wayne date), but I've kinda wondered about the other (non-Wayne) session on "Workin' Out". How is it?? The AMG review of the "Workin' Out" two-fer only mentions this about the date... Have to confess I'm not at all familiar with Johnny Lytle (vibes).

Kinda worked for this guy...

I'd genuinely like to hear Chuck's thoughts on this subject -- beyond "what's not to like?". Chuck, were you always a fan of Trane's later period? Or always as much of a fan as you later turned out to be? (I know my questions presupose some things, and perhaps not entirely correctly.) For you, Chuck (or anyone else, for that matter), what helped you get into Trane's later work if your initial reaction wasn't as postive as it would later be?? (Note: I didn't say your initial reaction wasn't positive -- just that it got more positive over time.) I've never really gotten bitten by the Trane bug, early middle or late. I 'like' the music, respect it a lot, and understand why it's important (and agree that it is too). I've just never been drawn to Trane even half as much as one would expect, give all my other interests. (I'll avoid trying putting some catagory name to my interests, other than to say there's PLENTY of stuff I've liked over the years that's nearly as 'out' and 'in-your-face' as Trane -- that for some reason I've clicked with those things (Ornette, Don Cherry, Andrew Hill, Sun Ra, Larry Young's last 4 BN dates, etc...) WAY more strongly than I ever have with any Trane.)

That reminds me that we need to start up the letter-writing campaign soon to get 'The Trainwreck' released at bonus cuts on "Natural Essence" in the next batch of Conns for next year.

LOTS of M-BASE cats in that line-up (nearly half the line-up (and slightly over half the horn-players), if my count is right at first glance). Steve Coleman's producer credit always left the impression with me that he was somehow instrumental in these dates having been assembled, and released on a big(ger) label to boot.

70 here.

Same here, on both counts. And in my case, the "not watching it" part seems to somehow correlate with the "it not bothering me" part. (And yeah, before anyone says anything, I know that "correlation" doesn't equal "causality" -- so I'm trying not to jump to any conclusions.)

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