Rooster_Ties

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.

Bump!! And HERE’S the tune that’s the reason why I’m looking for this date on CD.

Les Paul… https://charlierose.com/videos/8034

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.