Rooster_Ties

Considering that Wayne put Miles off for a good couple of years (more like three?? - I forget the exact chronology), I think this at least counts at least half-way. I mean, it wasn't like he tried to get out of playing with Blakey ASAP.

RED ALERT!!!! I've about got a 2nd BFT disc put together (to include as part of my BFT#25) -- ever since I discovered a sort of common theme to most of the rejected tracks I couldn't/didn't include on disc #1. I should have the 2nd disc put together by this time tomorrow. B-) So, I guess look for a 2-disc BFT from me, plus two bonus discs (a two-hour unreleased concert that is "to-die-for" amazing). Also, when should I open up a "sign up" thread?? Or maybe I'll just re-title this one (any reason not to??).

Exactly.

That's what I've heard/read too. Pretty sure there's an interview segment on video (maybe just audio) where Jarrett confirms this very directly. Maybe part of the Miles Davis Radio Project, or else maybe the documentary that ran prior to the Miles & Quincy Jones stuff on PBS. (Or else part of something else I'm forgetting.) I'm sure there are a handful who've said no to Miles over the years, but probably not enough to count on two hands - maybe even just one. (Meaning people who outright said "no" from the git-go, choosing never to play with Miles, ever. People have left Miles after a time. Plenty of them, over the years.) So, that brings up a good topic. Who said "no" to Miles, from the git-go?? Anybody?? Hard to document, I realize, and even harder to find confirming evidence. Probably all hearsay, at best, at least at this point.

I rather liked it a bit more than I was expecting to. Didn't outright "love" it, mind you, but I think it has to do as much with one's expectations going into it.

Thanks for looking that up, Mike. Much appreciated. Wonder what Michael was referring to (or what he thought he was referring to). Any guesses, anyone?? Would this be something worth asking him (Cuscuna) about directly (meaning, does he mind being bothered about stuff like this, at this level of detail??) Kevin, if you happen to be read this, and would happen to think of asking Michael the next time you talk with him -- I'd be curious what the supposed 2nd version of "Hello To The Wind" with Woody was. Thanks in advance!!

join http://www.easytree.org and get it for free. Couldn't find a "waiting list". Do you just have to keep checking, and just hope you're there at the right time -- to get an account???

Hire another babysitter to cover for you, and go see Stanko. If he were playing anywhere close to where I was, I'd make every effort to go see him. He doesn't tour the U.S. all that often, and what I've heard on record and in some private tapes, has been uniformly amazing.

Another Woody Shaw discographical question... The liner-notes to the new Conn of Bobby Hutcherson's "NOW!" mention that Woody recorded the Joe Chambers tune 'Hello To The Wind' TWO times. There, Michael Cuscuna says: "Woody Shaw made it ('Hello To The Wind') a staple in his repertoire in the 70's, recording it twice." I'm assuming Michael is only refering to commercially released recordings. But I can only find one version listed in the "Critical Discography"... What's the other version with Woody that Michael refers to in the "NOW!" liners??? Edit: By the way, Woody's version (live in Berlin in 1976), is one of my all-time favorite tracks with Woody Shaw, on any record of his, or with him as a side-man. I've listened to it several times in a row, on more than one occasion. Simply stunning.

OK, other than "Black Renaissance", and the Halloween '67 date from the new Andrew Hill Select --- is there anything else (commercial releases only) that's missing from this already wonderful resource?? I'd love to help make the "critical discography" really complete, since it's so close already. Then Mike can pass on any additions we have, to Todd Poynor, and have them included in the on-line version. Thanks!!!

What, they don't have computers in Branson? B-) They oughta...

Right you are. What the hell was Rooster thinking anyway??? He should fix the album cover in the first post in this thread. Edit: Looks like he just did.

Yeah, totally forgot about that one (Black Renaissance). I think the confusion about it is that the linernotes (at least in the CD issue), say that it only came out in Japan originally, but only as a bootleg ( ) -- so does that mean the first legit release was the CD?? In any case, it's not in the "Critical Discography", so there's one to add. Really one of the more amazing, and probably THE most unique thing Woody ever played on. Well worth seeking out.

"Smears" -- that's the term I couldn't think of. Thanks!!

I'm really diggin' Woody Shaw's "Cassandranite" (a.k.a "In the Beginning...") this morning, which got me thinking... What are some of the more notable jazz "demo albums" (demo tapes, done in a studio, or pseudo-studio situation) that weren't released until years later??? Let's also include artists whose very first studio-session(s) -- as a leader -- went unreleased at the time, for whatever reason. What are some of the best?? Worst?? Discuss... Grant Green's first session on BN comes to mind, as does Bobby Hutcherson's. Both were unreleased until only very recently. Also, a side question: Anybody know what the cover to the original issue of "Cassandranite" looked like?? It was first issued in 1983 as "In the Beginning..." (I'm assuming on Muse).

Great to hear. I kinda thought it was pretty complete, but I suppose it was possible that there were a small handful of things missing, that I just wasn't aware of. BTW, you might mention to Todd about the additional Andrew Hill session with Woody, from the new Hill Select. It's the only thing I can think of that's been recently released with Woody, that isn't listed. (Or can anybody think of anything else??) Thanks Miike!!

YES, YES, YES!!! WOODY SHAW!!!! B-) What got me thinking about doing this was Woody's amazing solos on the previously unreleased Andrew Hill session with Sam Rivers, from Halloween of 1967 (on the new Select).

I always associate those really expressive, incredibly well-placed 'slurs' with Lee's playing. Maybe 'scoops' would be a more descriptive term (at least that's what vocalists would call them). Another description: hitting a pitch, by sliding up (or down) to it by a half-step, or at least a quarter-step away from the pitch. Maybe Freddie does some of this too - I hadn't really thought about it. But Lee does them in a way that seems so incredibly natural (IMHO), almost "conversational". I think Lee's solos often have a "story-telling" quality to them. Joe Henderson often had this knack as well. (As did Woody Shaw.) All subjective, to be sure. Your mileage may vary.

Nada. Nunca. Nyet. (But also a good guess.) Edit: Here's a hint. Up before, when I said "Billy Harper" was a closer guess than "Greg Osby" --- I said this because Harper was pretty close in age to the soloist I was thinking of (turns out they were born within two years of each other, in the mid-1940's). That, plus Harper and the Mystery Man played together a few times, and recorded together at least once too.

Good guesses all, but it's not a reed-player I'm thinking about doing this for.

Closer. Still not it. B-)

Paging Michael Fitzgerald... I was just curious about how current and/or complete the A Critical Discography of Woody Shaw was?? And I'm only asking from the perspective of commercially released recordings (since I know a number of private tapes are floating about). Is there anything notable with Woody, that's missing from the "Critical Discography"?? Again, I'm only talking about commercially released recordings. Thanks a bunch!!! And a big word of thanks to you, Michael, for hosting and maintaining this. It is a WONDERFUL resource, one I reference quite frequently. Very valuable. Thanks again!!

I imagine that it really wouldn't be all that hard to find and stalk someone, unless they were well-known "nationally". A good friend of mine is married to someone in the broadcast media (his wife is a meteorologist for one of our local TV stations). Her "on-air" name is different than her legal name, but he and I both suspect that if somebody really wanted to find her -- it wouldn't be all that hard. (Unfortunately, the easiest thing to do would be to follow her when she drove home after the end of one of her broadcasts.) I imagine that a couple times per decade, per "market", two or three local TV media people get stalkers (usually of the minor-league variety, thankfully). Not all that often, I suppose, but not nearly infrequently enough if you're actually in that line of work. There was one such case about 6 or 8 years ago, here in Kansas City. Don't remember the details -- but it got pretty serious. Spontoonious might remember. (Hey Spontoon -- wasn't it Harris Falkner (local news anchor at the time) who got stalked sometime back in the mid-to-late 90's??) Scary stuff.

Not Osby. But somebody you'd definitely approve of, Free For All.

Been thinkin' about burning a long, 79-minute CDR (just for myself), of nothin' but solos by one particular jazz soloist, sans the rest of the tunes (so none of the other soloists, and no heads either -- just one solo after another --- with scissor edits, and no space (silence) between tracks). Sorta like the Zappa releases with nothing but guitar solos, one after another, after another, after another -- taken completely out of context (with no heads)... I realize this might be kinda silly with some players (particularly "inside" players, me thinks). But I'm wondering if this could turn out to be an interesting disc for me to play in the car --- with a soloist who was basically an "inside" guy, who sometimes got to play in some relatively "out" or "out"-leaning contexts (usually not his own dates). (And no, not Andrew Hill, nor Joe Henderson. Can anybody guess who I am thinking of doing this for??? Answer: Woody Shaw!!!) Anybody here ever done anything like this before?? Maybe my dumbest idea yet. But somehow I thought it might be interesting to hear practically all of this guy's "out"-leaning solos, back to back to back, in the hopes of getting some additional understanding about his approach. He was basically a hardbop guy, who took things further when given the opportunity.