Rooster_Ties

SS1! Good to have you back!!

About to start now (at 11pm eastern).

Nice remembrance in today’s WashPo… https://www.washingtonpost.com/music/2022/08/24/jaimie-branch-appreciation/

Hey, here’s a translation(!) of the liners for you, Jim… http://www.warnemarsh.info/Documents/Translation%20from%20Japanese%20of%20the%20liner%20notes%20to%20the%20Personal%20Statement%20album.docx Just found it here… http://www.warnemarsh.info/Documents/Docs.htm

So, what was it??!!

Back when I was producing my Jazz & Beyond concert series back in KC 12-15 years ago, one of the groups I wanted to program (but never got the chance to) was a piano trio (that had never played together before, actually) — that wouldn’t have functioned at all like a normal piano trio. To my mind, the best ‘creative’ (i.e. ‘free’) bass-drums duo in all of KC was a couple guys who did play together occasionally, but not as often as I heard them (separately) in other contexts. (Nobody here probably knows them, but just to give their names, it was Bill McKemy, bass — and Arny Young, drums.) And I wanted to pair them with KC composer and multi-instrumentalist Jeffrey Ruckman on piano — an instrument he plays (at least in improvisational settings) as much like a percussion instrument, albeit one that can also generate melody and harmony — but almost as an afterthought to the percussive-nature of the instrument. (Think “Jason Moran”, but without Jason’s speed or dexterity — but Jeffry’s more ‘interesting’ than John Medeski when Medeski’s on a traditional acoustic piano, imho). Jeffrey can literally play 30+ instruments halfway competently, but I don’t think there’s really any of them he’s even half-mastered per se — again, he’s primarily a composer — but he’s also a hell of a good free-leaning pianist too — because he’s a GREAT listener. I regret I never got that concert to happen — but maybe someday I’ll see if I can plot something from afar, and fly back to KC to attend. Probably never happen, but it could! I’d also want to get it recorded, if for nothing more than my personal enjoyment later. Yes, that’d “just be” piano-bass-drums, but it’d certainly be ‘unusual’ (at least for Kansas City)— and most of it would be pretty sublime too (and well worth recording). Edit: I’m sure the whole thing would’ve been free-improv, the whole concert. They were all highly skilled improvisers — certainly Bill and Arny (who could easily do an entire concert (just them) on bass and drums, and make that alone wonderful) — and Jeffrey would have easily had the ‘ears’ and enough skills to add to the proceedings in a very constructive way. Gosh am I ever sorry I never got that one programmed, and put together.

I’ve got that CD! Pretty wild in some respects, but never goes off the rails. Geri Allen was one of the pianos too — which I’m seeing they played up a lot more in a later reissue (I have the first purple-cover one) — here’s the details… https://www.discogs.com/master/1509312-Triad-Three-Pianos-For-Jimi

Saw this on the Hoffman boards just now, about an hour ago... https://www.udiscovermusic.com/news/creed-taylor-rip/ RIP

Found the disc, and the pianist is Lebanese (from Beirut) named Tarek Yamani. I think this is the only album of his with tuba (instead of bass). https://www.discogs.com/release/15244575-Tarek-Yamani-Trio-Ashur Here's a sample, the opening track on the CD...

Tone Dialing!!

This is funny, because it’s true!!

That's ringing a bell, and I found this retelling of the story you shared about 10 years ago. Thanks for sharing then, and now.

That’s almost gotta be the same as this one (from 2015) with two alternates — the first time that alternate of the title track had ever appeared. https://www.discogs.com/release/11227057-Joe-Henderson-Mode-For-Joe That alternate is also on the recent Joe Henderson Mosaic (which I don’t have, I just have the 2015 reissue)… …but I do think that alternate of the title track is fascinating, and wonderful. Such a delicate piece, and it’s quite an experience hearing it for the very first time. It’s not radically different or anything, but there are lots of differences in the details if you know the master-take even just halfway-well.

Chuck, did you and Andrew ever cross paths?

Amen to that!!!! ❤️❤️❤️❤️❤️

There’s a nice and quite different-sounding 1993 enja trio quartet album with Terumasa Hino, Masabumi Kikuchi (p), and Masahiko Togashi (d) — called Triple Helix. I had this CD for several years before I figured out the drummer was in a wheelchair and presumably paralyzed below the waist (and I’m seeing now he’s credited with ‘percussion’, not ‘drums’) — which explains his quite unique approach to his instrument(s), which include frame drums too, iirc. EDIT: I’m just noticing that James Genus is on upright bass too — making it a quartet — but now that I’ve typed all this, I’m NOT just gonna toss it because it isn’t a trio. My excuse is the title of the album — Triple Helix — has made me think of it as being a trio album all this time! EDIT2: The whole thing is a “triple co-leader” thing!! — in that everyone but Genus is co-listed as being a leader on the billing on the front cover (with a pic of just the three Japanese musicians only). https://www.discogs.com/release/6096366-Terumasa-Hino-Masahiko-Togashi-Masabumi-Kikuchi-Triple-Helix PS: Here's a taste (and the cover, as you can see, has just three!!)

I’ve got a piano-trio date by an Israeli(?) piano player that subs tuba(!) for upright bass (and the tuba player is a little like the guy on all those Rabih Abou Khalil enja albums all thru the 90’s and 00’s). Can’t remember his name, but I’ll have to dig the disc out and report back.

Oh, man, are they ever!

Please do expound!

This’d probably be my favorite Patton leader-date — with Junior Cook, Jimmy Ponder(!), and Clifford Jarvis on drums.

My first BN album was Mode for Joe — and it’s certainly one of my top-10 BN titles. I’m struggling to remember my second BN acquisition, but it may have been Sidewinder (but not because of the title-track, but because Joe Henderson was in the lineup). Either that, or one of Herbie’s 1963 or ‘64 dates.

I’d be too tempted to include dates like Larry Young’s Mothership, Andrew Hill’s Passing Ships, Wayne Shorter’s Etcetra, Hank Mobley’s Slice of the Top, and Lee Morgan’s Infinity — each one only released roughly a decade(!!) after they were recorded as part of the LT series (or several decades later, in the case of Passing Ships). But in each case, those really are (arguably) my all time favorite sessions by each of those artists.

New live double-cd coming next month, recorded in 1978 (presumably pretty much the same group (or similar) as his mid-to-late 70’s ‘Japo’ recordings). https://www.dustygroove.com/item/123217 No Dusty verbiage about it yet (for the moment). Manfred Schoof Quintet – Live In Bremen 1978 CD (Item 123217) Moosicus (Germany), 1978 — Condition: New Copy 2CDs — $18.99 Preorder: This title is scheduled for release about Friday, September 9.

I thought I’d bitched about Rose once before…

Rose faked it better than most, or usually anyway. But I’ll never forget his interview of Leonard Slatkin, where he pressed him right out of the gate (first question of the interview) — and with multiple follow-ups no less — as to why it was so important for audiences to hear the Haydn symphony Slatkin happened to be conducting that next weekend. Oh, did I mention, Charlie also pronounced it as “HAY-den” not once, but multiple times throughout the interview. Props to Slatkin for never correcting him, or cringing each time — or at the absurdity of being repeatedly asked to explain “HAY-den” to Rose’s audience — and thankfully Slatkin did finally redirect Charlie successfully. I also remember Rose asking the Icelandic singer Bjork — again, with multiple cringy follow-ups — to try and explain what the music sounded like in her head that she couldn’t quite get out. (My wife vividly remembers both the Slatkin and Bjork interviews with Rose — and her opinions of Rose pretty much mirror mine.) Rose may have been a good broadcaster, but I thought he was often sorely lacking as an interviewer — or he was only as good as the questions his research team could come up with.