Rooster_Ties

You know, a few days ago - someone privately suggested to me that I just PM the answers only to the people that actually posted guesses about the contents of BFT25. But his real point was this: that you -- catesta -- have publicly heaped on more shit on me than anyone else, about me posting the answers. And yet, you -- catesta -- made NO effort to even post one guess about anything in BFT25. So kindly fuck off, catesta. I'll post them when I damn well please (before the end of 2005), and I'd appreciate not hearing one more damn word out of you -- catesta -- about this matter.

http://www.fullervoice.com/cluck/play.html

I'd buy one.

Let's mildly pepper them with three or four e-mails, and see if we can get some more info. I'd be VERY interested to know what there plans are for this set. And while I'm at it, who's on "Inner Glow" again?? And when was it recorded (roughly)? Memory tells me it's a studio date, not live - right? (Sorry, I'm at work - don't have my complete BN discography close at hand.) (And before anybody bitches -- yes, my Blindfold Test answers (#25) will be delivered yet before the end of this calendar year.)

I used to have this on CD -- YEARS ago, maybe even before I took the plunge very deeply into jazz. (My main interest at the time may have been that it was a Spike Lee soundtrack, as much as anything.) No idea where it got to -- I'm sure I traded it off before I had any idea who was on it (which I vaguely remember discovering only a couple years ago). Little did I know at the time...

Just got back from seeing the new Kong movie about 10 minutes ago. Wow!! Loved it. A few of the fight scenes went on a bit long, but overall - I think the movie was nothing short of fantastic. Far exceeded my expectations. FWIW, I haven't seen any of the LOTR movies (not my cup of tea), but could not resist seeing Kong after seeing the trailer for it a few months ago. Simply amazing. Though I wouldn't root for it to win, I think a nomination for an Oscar for Best Picture would not be unwarranted. And it probably deserves every nomination it gets for special effects. Hadn't seen the original since I was in high school (mid 80's), and that was on the small screen (I'm afraid). Might have seen the 1976 version back in the day, but I only vaguely remember it (I was only 7 at the time). And if I did see the '76 version, then I probably saw it before I ever saw the original. Anyway, the version I saw tonight was thrilling, and as well-made a "Hollywood"-type movie as I've seen in years.

I heard a piece about her on NPR about a year ago (plus or minus), and they mentioned a recording project she did with some Scottish big band (from Glasgow, if I remember), performing the original "Miles Ahead" charts. They played a bit too. Always meant to follow-up and try to find that recording, but never did (yet). Anybody know what recording that is?? Anybody here heard it?? How is it??

priceless...

How about the week of March 18th, 1969??

The price increase doesn't bother me too much, but I'm sure I'll be buying several between now and July 1st -- including a couple I might not have bought otherwise, come to think of it.

Just don't forget that I'm the undisputed expert on Milt Ward around here.

We're scaling back on presents this year. Mrs. Ties and I made good sized donation to the Red Cross back after Katrina hit, and plan to make another Katrina-related donation before the end of the year. Somehow managed to convince both her family and mine to scale back on gift-giving this year, in order to fund the extra charity donations. My father-in-law was the only holdout, and he may yet grump a bit on Christmas day with the reduced giftage (only time will tell) - but everyone else thought it was a great idea. As a result, it only took an evening or two to get all our present-shopping done, whew!!! My wife got all her cards done and sent out a couple days ago. Got half of mine done last night, and hope to get the other half done tonight. As long as they're out by Chirstmas day, I'm good.

Have you considered leaving yesterday?

Especially at that price.

Has anybody here heard the sketches from the original sessions that Gil never wanted released -- the ones that were released on LP sometime in the 70's or early 80's (if I remember right). I'm sure Gil was right for wanting them kept in the can - but I have to admit to being curious about them (since they snuck out). Were there any important soloists featured on the "sketches"??

Wow!! If anybody can manage to tape it, I'd love to hear it. Can't get Piano Jazz here in KC (at least not with decent reception anyway). Wonder if they'd consider releasing it commercially?? I know LOTS of the Piano Jazz shows have been released over the years, but probably many more that haven't. Chuck (or anyone else who’s heard it), how did Andrew fare with the interview segments?? (Given his stutter.)

Not to change the subject (yeah, wtf is that on the Dusty sight?? ) ... ...but Chuck, do you happen to know how many units of this title (the legit one), have been sold to date?? Just curious.

There are a number of 60's dates on Contemporary that I really dig, and I've always been curious about what else was on the label.

When was the last time you heard a Kenny Cox tune played live??? Got a hit on this with my auto Google News -- which does a search for "Andrew Hill" + "jazz" every day for me. http://www.allaboutjazz.com/php/news.php?id=8309 New David Weiss Quintet at Kavehaz in NYC, Friday, December 16 Posted: 2005-12-16 Kavehaz Presents David Weiss and the Point of Departure Quintet David Weiss- Trumpet Myron Walden- Tenor Sax Craig Magnano- Guitar Ameen Saleem- Bass Jamire Williams- Drums Appearing at Kavehaz 37 West 26th Street (between Broadway and 6th Avenue) (212) 343-0612 Friday, December 16 Shows at 10 pm and 12 midnight No Cover Charge The late 1960's were a turbulent but exciting time for jazz. The music seemed to simultaneously get more complex and simpler at the same time as a variety of influences infused the music. Some were experimenting with soul, rock and exotic rhythms from the India and the Far East. Others were carrying on the innovations of the second great Miles Davis quintet, using the groups ever shifting rhythms and harmonic complexities as a springboard to new compositional ideas. Some somehow combined both to create some new, exciting music. The Point of Departure Quintet is re-examining some of the most innovative music of the period, some of it neglected, some, perhaps, never quite as developed as it could have been as things seemed to move at a pace during that period that left some music from being fully realized as they quickly moved on to the next new thing. Among the composers being re-examined and re-imagined are Andrew Hill, Wayne Shorter, Joe Henderson and music from the unsung Kenny Cox and the Contemporary Jazz Quintet (who recorded two seminal but under appreciated records for Blue Note in the late 1960's). Known for introducing many of the finest young musicians to the jazz world for the past 10 years through his sextet (Marcus and E.J. Strickland), the New Jazz Composers Octet (Myron Walden, Jimmy Greene, Greg Tardy, Xavier Davis and Nasheet Waits) and as a producer (first CD's by Robert Glasper, Jeremy Pelt and Marcus Strickland), Weiss introduces two of the finest young musicians on the scene today, Bassist Ameen Saleem and Drummer Jamire Williams. What the critics are saying... ”Now with The Mirror, he demonstrates that Breathing Room was no fluke as he serves up a programme marking him as one of the more cerebral yet visceral writers to arise in recent years. With an album that is heady in both senses of the word--intelligent and exhilarating--Weiss emerges as one of the finest artists to mine the post bop arena, with an ability to develop longer-form composition that is clearly indebted to Wayne Shorter. Not since Dave Douglas rose to prominence in the mid-'90s has a trumpet player come along with such a perfect combination of technical prowess, unerring instinct for captivating melody, harmony and counterpoint, and sheer emotional force. A masterpiece by any definition, The Mirror deserves a place high in most listeners' top ten lists for '04 for its ability to engage more than just the ears; Weiss' compositions are remarkably visual as well”. -John Kelman, All About Jazz ”The compositions and especially the colourful, warm, often pedal-point punctuated arrangements show how rapidly Weiss is maturing. His writing may well be initially inspired by what Wayne Shorter was doing for Miles in the mid '60s, but it is totally contemporary in its expansion of that era's unfinished business. And his two scores for the larger line-up are exceptional. The emotional depth of the scoring and the solos make it really something special. So is the whole album. Watch for Weiss. He's a major new talent. One of my 2004 Top Three CDs”. -Tony Hall JazzWise Magazine 'Weiss writes tunes with evocative melodic ambivalence and veering surprises and hovering pedal points and metrical asymmetry, all qualities associated with the sensibility that Wayne Shorter brought to jazz. But Weiss does not repeat it, he expands upon it” -Thomas Conrad Downbeat Magazine “Wayne Shorter's influence may be apparent in the charts and Freddie Hubbard's in the playing, but Weiss' craftsmanship and individuality in both areas lift his music out of retrograde movement. It is an indicator of his skill that his five compositions complement the Shorter compositions on the album. Weiss' writing suggests that a major composer/ arranger may be developing” -Doug Ramsey Jazz Times Magazine “Weiss has everything that makes a jazz trumpeter great: a full-bodied sound, a complete command of the instrument, a thorough knowledge of the tradition and an intelligent application of those talents. He may be lesser known of the current trumpet kings, but this splendid recording will change that”. -Eugene Holley Jr. JazzUSA “The influence of Wayne Shorter looms large over Breathing Room both in composition and execution. Weiss borrows from the Shorter muse with haunting themes, deceptive intros and tough playing, but he is far too restless an artist to settle for imitation. His own compositions like “Breathing Room” and “Dark Forces” deliver intelligently paced, emotionally charged hard bop that stands shoulder-to-shoulder with Shorter gems like ”Armageddon” and “Those Who Sit And Wait.” -Ken Hohman All About Jazz venue website: http://www.kavehaz.com/

How's the Flanagan remake of Giant Steps?? Can't imagine it being anything short of wonderful. FWIW, the AMG gives it 4½ stars (AMG review by Bob Rusch, Cadence)

Nearly-complete remakes mostly count too, so why not mention them as well... There's Wynton's remake of more of the "A Love Supreme" suite (released under Elvin's name, if I remember right). I actually kind like this one (believe it or not ), if only because it makes me wish that Woody Shaw had redone the entire "A Love Supreme" suite with just a piano trio backing him. It's nowhere as good as Woody would have done it, but it's better than I was expecting from Wynton -- I'll say that much. And there's Miles' own revisiting of the Gil Evans material with Quincy Jones. None of the suites were performed in their entirety (as I recall), but long stretches of the original material were performed in their original sequence.

Was listening to the first one of these discs today, which got me thinking about starting this thread... "Another World" was LaVerne's first-ever leader date, recorded in 1977 with Mike Richmond (bass) and Billy Hart (drums). "Another World, Another Time" is LaVerne's 1997 re-recording of all of the same material from "Another World" (sequenced the same too, I think), with the exact same rhythm section - with the addition of Tim Hagans (trumpet). Both dates are fantastic, IMHO. BTW, all the tunes were LaVerne originals. Another favorite of mine is the "alternate" version of the complete "Miles Ahead" suite - found on the complete "Miles and Gil" box-set. Some may cry heresy, but I find the alternate version incredibly interesting and enjoyable. Alos, I understand that there is a recording available of some Scottish big band redoing the complete "Miles Ahead" suite, with Ingrid Jensen taking the lead trumpet role. (I've not heard this myself, but would like to find it someday. Has anyone here ever heard it?) Then there's always this, which I haven't heard in years. I remember it having its moments, but overall being a mixed bag. What other jazz albums have been completely redone by others (or even by the original artist), or full-length alternate versions can be assembled from alternate takes from the original session(s). And of course -- which ones work, and which ones don't??

I thought Zappa did a pretty decent thing, offering silver-disc copies of bootlegs, complete with simple artwork. Most were only $10 or $11, if I remember. But I agree, downloads should be more like $8.00 -- you know, something a tiny bit less than the average price of a used CD (which I would peg at $9).

gnarley!!

Wow, I wonder how much they'll go for??