Rooster_Ties

Speaking of modernistic movie soundtracks, I recall some fairly interesting— or at least atypical — music on many of the original Planet of the Apes films from 1968-73 — the first two especially, and the 4th one (which was especially dark, in terms of plot and tone). I’ve never owned any albums of CD’s of them, but I’m well aquatinted with the movies as I’ve seen all of them several times each over the years. There’s some crazy, if not truly atonal, then at least bitonal choral(!!) music in first sequel (the 2nd film) — which left a pretty strong impression on me the very first time I hear it back in college when I was about 19 (summer right after my freshman year). And the stark, very percussive soundtrack to the original film is outstanding in the context of the film.

❤️❤️❤️!!! Slice… is my very favorite Mobley leader-date, with Third Season a close second!

You’re right of course, but I sorta did that very thing once. When I moved from KC to DC in 2011, I first moved all our stuff (incl. all my umpteen-thousand CD’s) — I had a few alternate recordings of some beloved pieces I was getting rid of, and then I had to work on getting the house to ready to sell for a couple months after we’d already moved all our stuff to DC (where my wife already was). And I ended up listening to about 3-4 of my favorite Schoenberg chamber pieces with winds — his wind quintet, and the ‘serenade’ and I forget the other two by name (all of them have opus numbers in the mid-20 range). And I listened to those pieces almost daily for several weeks — sometimes 2-3x in the same day. It was a lovey experience, as I’ve always found those particular Schoenberg pieces (thorny as they are) — also very ‘dance-y’ — literally making me feel like dancing around the room. WHICH turned out to be excellent music to be working to, putting me in a very “get stuff done!!” sort of mood. It was a very positive experience, having that modern classical music going all the time like that, for several weeks there.

I think one big difference is that modern music — as it is with all music — must be experienced over a set length of time (the duration of the piece). The length of a particular work might vary from performance to performance (and maybe even be designed to be of a variable length — in the case of ‘aleatoric’ music). Whereas most visual art (except ‘video’ art), is normally experienced for as long or as little as the viewer decides. You can take 45-minutes to tour an entire exhibition, never spending more than 3-4 minutes looking at one particular work, and often even just a minute or two). It’s one thing to stare at a Jackson Pollock painting for 3-4 minutes — and entirely another to listen to a whole 15-30 minute orchestral or chamber music piece. And I’m NOT trying to put a relative value judgement on the comparative merits of these two entirely different mediums. I love art - especially when art first started getting ‘modern’ in the early 20th century — and we love going to art museums and galleries (more so museums). I’m simply saying that the kind of attention that visual art demands gives control to the viewer (to linger on some works longer, and dismiss other works in but a minute) — whereas music (especially difficult music) demands one’s attention over that duration of the experience. A ‘bite size’ piece of music is maybe 10 minutes (I’d argue). That alone is twice as long as most people spend looking at any one individual work of visual art in a museum.

The full (separate) sessions with Gojkovic and Tolliver do circulate — a buddy of mine burned both of them for me several years ago. And if I’m not mistaken, the tracks on these LP’s from those sessions are NOT the full sessions in their entirety. It’s really a shame the full sessions can’t be released on CD. I even wanna say the Gojkovic I have with Kleinschuster is from two different Kleinschuster-led sessions, and together (if there really are two such sessions), the CDR I have clocks in around 55 or 60 minutes, maybe even 65? (I’m 1,000 miles from home as I’m typing this, visiting my Dad in St. Louis, or I’d check myself.)

Amen! — on both counts.

Everybody on that date is really good, but Kelly’s vibes-playing is really on a whole ‘nother level. Makes me really wish he’d recorded more — a LOT more.

I too had thought of that exact same Emperor’s New Clothes analogy.

I feel much the same, and I scarcely know where to begin to comment. I have no patience for many (most?) 'audiophiles'. I've known a tiny handful in real life, and I could barely sustain a conversation with most of them about the music, because they seemed so obsessed with collecting music for the sake of (and the 'purity' of) the "object" that was "the music" -- while seemingly have no appreciation for the history of the music and the musicians themselves. A couple were also obsessed with who'd they'd seen live (and maybe 'seen' is a better way to say it, than 'heard'). It was maddening talking to these people most of the time, though I did occasionally find common cause with a couple of them every now and then.

The 2CD release under the artist name 'Nimbus Collective' called Live In Lotus Land is mighty nice! (Tangent: I file this under 'Nate Morgan', because he seems to be the leader on the date, best as I can tell, iirc.) The Nimbus Collective – Live In Lotusland (2010, CD) - Discogs I especially want to highlight the vibes player, Rickey Kelly -- who I think really, REALLY shines (on Lotus Land). I'd LOVE for Kelly's sole Nimbus leader-date to be released on CD (specially on CD), as I don't really do vinyl much (though I think there's been a recent vinyl reissue) -- which I only know from some on-line samples (and maybe one(?) track I found on YouTube once?). Edit: this is the one I’m talking about: https://www.discogs.com/master/2134276-Rickey-Kelly-Limited-Stops-Only This track is from his Limited Stops Only album, and probably is the only full track I’ve heard…

Yup, Roach for me too. There's a LOT to like about Blakey's groups -- but even as good as they are, there's 1) also a bit of sameness to many of them, and 2) I don't think Blakey's drumming is as varied and 'exciting' as Roach's -- Blakey doesn't surprise me nearly as much. Roach is still basically straight-ahead (advanced) hard-bop drummer, but I find his playing more exciting in the way I find Joe Chambers', Jack D's, or even Eddie Gladden's drumming (or Elvin as a sideman for Blue Note in the 60's, like with John Patton, etc...) Blakey is "exciting" -- but he's never as EXCITING!! -- as all these other drummers I listed.

and Bley certainly isn’t the vocalist Jarrett is either.

I’ve got a good smattering of Dewey, but there’s a lot more that I don’t have, than what I do. I do have everything he did with Ornette (all the major label stuff, at least), and everything with Old and New Dreams — plus a few of his own leader-dates is primarily what all I have — plus that one Anthony Cox date — plus that nice Ethan Iverson date from 1993 too. I could certainly have more, but I just never felt the need to get it all with him.

No worries, I usually do too!

Other than plenty with Miles, the only Jarrett I have is Gnu High (unless I’m forgetting something else). edit: I also have him on Lou Harrison’s Piano Concerto (quite a monster work, btw) — and about a year ago I found a cheap $5 CD of the ubiquitous Köln Concert.

That can’t be Monk soloing at 4:50 — is it really? Not seeing this album listed as a sideman-date in this Monk discography either (though I realize Wikipedia ain’t shit sometimes)… https://en.wikipedia.org/wiki/Thelonious_Monk_discography On mobile and at work, so clearly I need to do some more digging on this one.

Yeah, me too. I really need to try and read all my uncle’s Downbeats someday — about 20-23 years worth, starting ~1965, iirc. Almost no gaps, though I have discovered one or two issues missing for a couple years here and there.

Oh. I thought that was just my own lingering insecurities kicking in again.

Always glad to hear good news. Huzzah!

I’ve never not seen it (since it’s first appearance, anyway).

Speaking of WH subs, there sure were/are a lot of them! https://www.discogs.com/label/23112-Windham-Hill-Records Sublabels Dancing Cat Records, High Street Records, Lost Lake Arts, Open Air Records, Pure (17), Select Sounds, Sounds of Wood & Steel, Windham Hill Classics, Windham Hill Jazz, Windham Hill Records CD Collection

Blue Train is definitely mostly a pretty good session, but it's nowhere near the end-all and be-all of records that some people make it out to be. I'm always a tad disappointed when I put it on, not because I'm expecting it to be something it isn't -- but given its notoriety (and sales over time), I think its 'sales success' (and the bit of mystique that surrounds it) has exceeded its critical success (imho) by a bit. Maybe "mystique" is too strong a word -- but I could probably think of half-a-dozen similar Blue Note albums from that year (and the year before, and after) that I probably like just as much or more.

Don’t know about all the others in the current run of BN shirts from Uniqlo, but they still seem to have good availability and (in “real-people” sizes) on Judgement! — for only $9.90 — and with free shipping if you can have it delivered to a local Uniqlo store in your city. And Specifically the Judgement! shirts I got were super nice, maybe the nicest graphic-T that I’ve ever owned (owing to the fact the black in the album cover is just the color of the shirt, and the only appliqué is the non-black parts of the cover). Sizes run a little small — and the two XL’s I got were ‘snug’ XL’s. https://www.uniqlo.com/us/en/products/E446384-000/00?colorDisplayCode=09&sizeDisplayCode=003

So, let’s say — purely hypothetically — that I had a friend (a pretty big jazz fan), but who had never even heard of Ernie Henry before. And I do have — I mean, my ‘friend’ — does have the Fats Navarro / Tadd Dameron 2cd comp BN put out in ‘95 (with the orange cover). But I think that’s it (and I didn’t even know who all was on it). What else can be recommended?? Or more specifically, can anyone post a few notable and key tracks from YouTube here? — to help sell my hypothetical friend on Henry.

Ok, Jim — but how much is “a lot”? Quantify said love, and show your work.