Rooster_Ties

Wow, what a great album to start with!

I mentioned my Hendrix fanaticism my last two years in high school (including a couple dozen bootlegs, and damn near every legit release I could find)… …but then I also got into Frank Zappa quite a bit when I first got to college — and then in the year before I got into jazz, I got the first of Zappa’s live 1988 releases with his very jazz-tinged, horn-driven band (the album Broadway the Hard Way). So that helped too.

I feel like Joe’s last BN leader-date, plus Power to the People having an ‘all-Miles’ rhythm-section (Herbie, Ron, and Jack D) — plus Miles’ last all-acoustic Second-Great-Quintet album — all set me up pretty damn well. Plus, I listened almost nothing but Jimi Hendrix my last two years in high-school (more true, than not) — which set me up for electric-era-Miles too. A near perfect indoctrination, far as I’m concerned.

Try googling the headline of the article, and then click on the NYT link from within Google. That usually works for me, to get behind their paywall — or at least it does within the Google app on my iPhone.

Two C90 cassettes that I made in the Fall of my junior year of college (1989)… Side 1: Mode For Joe + “Gary’s Notebook” from The Sidewinder (also with Joe Henderson). Side 2: Power to the People Side 1: KOB Side 2: Nefertiti + “Prince of Darkness” off The Sorcerer Played both those tapes 100 times each over the first few months I had them.

It’s not that hard, but it might have been an added expense (to Mosaic) to do that — I’m just wildly guessing — and perhaps they felt the added expense wasn’t worth it (especially if there were data quality issues with their old system). To be clear, I completely *agree* it shouldn’t have been that hard (and shouldn’t have cost extra) — but there’s no telling how the company that they bought (or ‘rent’) their new system charges for things (and data-conversion could have been an ‘a la Carter’ expense they had an opportunity to avoid). Given their margins, anything’s possible.

Me too!! I’ve got about 3-4 of those Atlantic Hubbard dates on CD, and they’re mostly all pretty darn good.

Yeah, they were both on the standard CD reissue of Blue Spirits… https://en.wikipedia.org/wiki/Blue_Spirits?wprov=sfti1 6. "The Melting Pot" - 7:36 Bonus track on CD 7. "True Colors" - 9:53 Bonus track on CD Tracks 6-7 Freddie Hubbard - trumpet Joe Henderson - tenor saxophone Hosea Taylor - alto saxophone (6), bassoon (7). Herbie Hancock - piano (6), harpsichord (7). Reggie Workman - bass Elvin Jones - drums Notes: On the CD reissue of Blue Spirits, track 7 is listed as Hancock performing on the celeste, although it sounds like a harpsichord.

I didn’t notice any previously unreleased tracks, fwiw. If I was made of money, I’d get this — but alas, I’m not.

Speaking of Chicago, I super-vaguely remember like I read gosh-knows-where once, that Chicago did a sort of half-‘traditional’ big band album of some sort (or maybe it was just a few tracks). I never heard it, nor was I terribly curious — but now I’m wondering if I’m just imagining I heard about it once online. Ring any bells for anyone??

Absolutely love that CD — and, yes, the big band tracks especially (but the whole thing, really). One of the best historic releases of its kind (in a sort of quiet, unassuming way). Would that every source of such material — notable soloists being backed by European groups and sidemen — be unearthed, and released so well (on CD).

Such a nice surprise too! — like outa nowhere — BAM! — there it is. Short as it is, it really feels like a revelation. We’ve got footage of Tina Brooks (with Ray Charles) — and of Dupree Bolton (of all people! — along with Curtis Amy)… and I’m sure I could cite a dozen other notable but obscure players from the 50’s and 60’s. And now, suddenly… suddenly there’s footage of Hank — where this time yesterday there was none. Kind of its own little (tiny) moment in jazz history… the day that suddenly we could affix the memory of a moving image in all our minds, to one Hank Mobley. I suppose I’m being a little silly and over dramatic about it. But seriously, how many of us will remember this footage when we think of Hank in the future? — and this time yesterday, NONE of us could do that (other than Dan, who’d already seen it). That’s not nothin’.

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.