Rooster_Ties

NYT… (Thanks for asking, because I had missed this myself) https://www.nytimes.com/2022/06/09/arts/music/grachan-moncur-iii-dead.amp.html Edit: Nothing from the WashPo (at least not yet) — but here’s one from The Guardian… https://amp.theguardian.com/music/2022/jun/06/grachan-moncur-iii-obituary

My favorite low-key ‘late night’ BN album might be Speak Like a Child — not low-key harmonically, but still not exactly frenetic either.

Ethiopian Nights isn’t half bad either (the date after Kofi) — it’s the last album before the Mizells enter the picture (and my interest drops off substantially).

That absurd Bill Evans Verve box that was designed to rust — and get rust all over your hands (and clothes) more and more, increasingly more, with every passing year. I finally traded it off after about 5 years.

Yup, I remember when this was first discovered around here back around 2004-2005, something like that. Not pricey at all, either… https://www.amazon.com/Ray-Charles-Genio-Live-Brazil/dp/B000641A7M

Yes, and no. I like Teo-ing too. But, I sure has heck like the four-disc unedited Miles at Fillmore 1970 (Bootleg Series, Vol 3) a hell of a lot too!! Teo’s version is great! — and the (much) larger context from which it was drawn is great too!

My father-in-law’s mother was a schoolteacher in the area (maybe in Stanhope), and her name was Hildegard Bergstrom (before she married, and then became Hildegard Crim). My wife isn’t 100% sure she taught in Stanhope, but we think that’s pretty likely. Stanhope only has about 350 people in it now, so it’s super tiny! — and no longer has a school (hasn’t since sometime in the 60’s — Susan’s youngest aunt was in one of the last classes there, before they consolidated).

Hey Chuck — I see in today’s article that you grew up “on a farm in central Iowa, about 15 miles from Ames”. I knew it was ‘central’ Iowa before — but which direction from Ames? What was the closest town? Asking, because my father-in-law grew up in Stanhope, a tiny town 25 miles NW of Ames (and that never had a population greater than 450). And he had lots of family in Boone (14 miles due west of Ames). Anyway, small world! PS: If you knew anyone with the last name of ‘Crim’ back then — they were likely related to her dad’s family — he had ten (10!) aunts and uncles growing up, nearly all of them in the immediate area in and around Boone, Stanhope, Stratford, etc…

I ‘like’ a lot of 80’s Miles, but not enough to spin it terribly often (like hardly ever) — so I traded off practically all my 80’s and 90’s Miles when I moved to DC back in 2011. Might have kept Aura, but I’m not even sure about that. Still like Tutu and Amandla ok, but not enough to justify the shelf space for even them. It’s all stuff I’ll be happy enough streaming somehow when I get the urge to listen to that sort of thing — about once a decade, at this point.

What timeframe? — if you know.

I still can’t believe I got to hear Andrew Hill, Sam Rivers, and Grachan — not all at the same time, mind you. Back when I was in Kansas City, I heard Andrew up in Iowa City — and Sam in Topeka. And then Grachan here in DC in late 2011. RIP

Some rare live footage to enjoy — over 48 minutes worth, from 1970! — as we think back on this unique voice in the music… This seems to have just been uploaded a couple months ago. I’m copying over the particulars, in case the video disappears later… Upload title: The 360 Degrees Music Experience - Live @ Molde Jazz Festival 1970 Description: Beaver Harris drums, Grachan Moncour III trombon, Roland Alexander sax, Dave Burell piano, Jymie Merrit bass, Buzzy vocals 00:00 Part 1 - New Africa 15:40 Part 2 32:25 Part 3 46:44 Presenting musicians... The 360 Degree Music Experience was an American band that performed both traditional and experimental jazz. Active during the 1970s and '80s, the group was initially co-led by drummer Beaver Harris and the pianist Dave Burrell. After Burell left the group, pianist Don Pullen replaced him. Several other notable musicians were members of the band at one time or another, including Hamiet Bluiett, Cameron Brown, Ron Carter, Ricky Ford, Jimmy Garrison, Grachan Moncur III, Titos Sompa, and Buster Williams among others. The group released two albums for BMG: From Ragtime to No Time and A Well Kept Secret - from Wikipedia

I will forever cherish getting to hear Grachan perform those fantastic Mark Masters arrangements of his (Moncur’s) music for octet, with and led locally by Brad Linde — in December 2011 (just shy of a year after I first moved to Washington DC). He’s a player I never dreamed I’d get to hear, let alone in the context of those masterful arrangements — and they even played a couple tunes Masters arranged that didn’t make the recording too… RIP

Spinning this again now.

I’ve wondered the very same thing!

Nathan Davis' soprano playing (at least in the 60's) is instantly recognizable to me -- even from what little I've heard (just 3 albums). AFAIK, practically nobody plays soprano with both that degree of sweetness and seemingly perfect intonation (or if anybody else did, I'm not aware). I'm not a big soprano fan (though I love Wayne Shorter's ideas enough that I'm fine with his playing) -- and Nathan is one of the only soprano players whose tone doesn't bother me. It's like his playing is on a whole 'nother plane. Helped that I own the album it's from (one of the bonus tracks from Peace Treaty), but even if I hadn't ever heard it before, I think Nathan would have still been my first guess.

I’ve head Track 6 before, I’m sure of it — but can’t immediately place it. Nathan Davis perhaps? Track 11 sounds like something I may have heard (or even have) — possibly from one of those ‘Spiritual Jazz’ comps on the Jazzman label (out of the UK)..

I paid about $65 for my Mulligan Concert Jazz Band box about 2 years ago (from eBay), and I saw some other copies going for about $65-$70 around then too. Looking now, there are a couple closed eBay auctions in that ballpark too (in the last 90 days). I agree, $65 is a bargain (I certainly thought that when I paid that for mine), but that does seem to be about the going rate when opening bids are less that, and actual multiple-bidders are bidding.

Has anyone else ordered “Roots” on CD yet? If you get your copy in hand by June 4th or 5th, could you let me know if it’s a needle-drop, and how it sounds? (I’ve got one on an open order at Dusty Groove that I have to close by June 5th — and I’m asking for a buddy here on DC who might want one too, but has some hesitation about whether it might be a needle-drop.)

Where’s the fucking picture disc version? I’m sick and tired of this nonsense. This isn’t for music fans. This is for music media fetishists, who want to fondle and ogle a precious ‘shiny’ object, that happens to be associated with some good music (as a bonus). Edit: What bullshit.

That was my rationale for getting the Bee Hive box, and I’m glad I did — but the timeframe (decade) of the Bee Hive material lined up a lot more with my interests than this B&W set.

Dusty Groove seems to have all the Perception titles in (as of just this afternoon). I pulled the trigger on Roots on CD (no surprise there) — but I’m taking advantage of them holding orders open to add more things and save on shipping. So via media mail, I should have my copy by about June 9th, or thereabouts.

Alas, no CD, but this can be had as a legit (licensed) vinyl reissue now (as of just a couple weeks ago) -- or as a legit download (for only $7) Hell of an album, carpe diem!! https://frederiksbergrecords.bandcamp.com/album/milt-ward-virgo-spectrum Dusty Groove seemed to have had one or more copies on vinyl (but they’re currently out of stock) -- which is how I even knew of the existence of this reissue. https://www.dustygroove.com/item/116324 For posterity, here's the DG verbiage... A hell of a spiritual jazz session from trumpeter Milt Ward – a relatively obscure player who worked on the same 70s Boston underground scene as Stanton Davis – a friend of Milt's and a good comparison to the sound of this one rare album! The vibe is a bit like that of Davis' Ghetto Mysticism – spiritual jazz, but delivered with a soulful focus throughout – tunes that still have plenty of room for strong solos, but also groove a bit too – all instrumental, and served up by a tremendous lineup that includes the great Carlos Garnett on tenor, plus Bill Pierce on soprano and tenor, Delmar Brown on electric and acoustic piano, Cecil McBee on bass, and Ignacio Mena on percussion! There's a very special spirit to the record – a set that's not just rare, but a rare breed of wonderful – with titles that include "The Charle", "Virgo Paths", "Juneboy's Frismas", "Mr Cheese", and "Morning Glories". Hell, as long as I'm posting that for posterity, here's the description of the album (and Ward) from the Bandcamp page too... It seemed trumpeter/composer Milton Ward had all he needed for a breakthrough in the world of contemporary jazz in the late 1970s. Blessed with a beautiful trumpet tone and an impressive work ethic, Ward found a home in Boston’s exploding soul and jazz scenes of the early 1970s. His star never joined the constellation of jazz luminaries, but Ward did leave one fantastic album of spiritual jazz that has become a collectors’ favorite: Milt Ward and Virgo Spectrum. Frederiksberg Records is proud to present the first and only authorized reissue of this funky jazz classic. The release includes remastered tracks from the original LP along with in-depth liner notes that provide a detailed account of Ward’s journey from his early years discovering music in the South to his toils finding a hold in the music business in Boston and New York City. Born in Michigan but raised in New Orleans, Ward came up through the Crescent City’s legendary musical education system. After a stint in the Air Force, Ward and his friend Stanton Davis (of Ghetto/Mysticism fame) looked to the Berklee College of Music in Boston for the next step in their development. Immediately, the two were immersed in Boston’s busy music scene, finding trumpet chairs in Herschel Dwellingham’s Orchestra at the Sugar Shack, where they backed up many of the day’s soul greats. Ward worked with many up-and-coming musicians emerging from Berklee’s nurturing arms. He recruited many to his projects, including his Ultra Modern Quintet Plus Two, which played regularly around Boston in the early 1970s. It was in the mid-1970s that Ward took it upon himself and his entrepreneurial spirit to start his own record label, Twin Quest, and record his stand-alone release. Milt Ward and Virgo Spectrum brought together great young musicians who would quickly make names for themselves within the jazz world, including keyboard wizard Delmar Brown and future Jazz Messenger saxophonist Billy Pierce. Saxophonist/flutist Eddie Alex is a standout, as is baritone saxophonist Glenn Barbour, who soon would head to Atlanta to join The Whole Darn Family. Percussionist Ignacio Mena, bassist Cucho Martinez, and drummer Hugh Petersen all hailed from farther south: Chile, Venezuela, and St. Croix, respectively. The recording also incorporated two bona fide New York jazz masters and veterans of the spiritual jazz movement, bassist Cecil McBee and saxophonist Carlos Garnett. The recording still stands as a hallmark to the creative music scene of Boston and New York City when soul and funk began to emmesh themselves in jazz. Milton Ward’s Milt Ward and Virgo Spectrum remains a youthfully vibrant recording that is ripe for rediscovery by a new generation of explorative listeners. credits released May 6, 2022 Alto Saxophone, Flute – Eddie Alex Baritone Saxophone – Glenn Barbour Bass – Cecil McBee Drums – Hugh Peterson Electric Bass [Fender] – Coucho Martinez Electric Piano, Piano, Synthesizer – Delmar Brown Illustration, Art Direction – J.M. Wilson Percussion – Ignacio Mena Photography By – Harold Emerson Tenor Saxophone – Carlos Garnett Tenor Saxophone, Soprano Saxophone – Bill Pierce Trumpet, Flugelhorn, Liner Notes – Milt Ward Reissue Credits: Liner notes: Bret Sjerven Remastering: Greg Reierson Graphic Design: Javi Bayo Pressed at Pallas, Germany Special Thanks: Takayuki Fujikawa Under Exclusive License from Milt Ward’s Estate Produced for Reissue by Andreas Vingaard

You can thay that again!

QUESTION: Is this everything(?) that Lee Konitz and Billy Bauer recorded together, just the two of them as a duo?? (I don't feel like I have enough of a handle on all of Lee's early output to really know, but this might(?) be everything.) "Rebecca" -- Recorded April 17, 1950 (in NYC) and "Indian Summer" and " Duet For Saxophone & Guitar", both recorded March 13, 1951 (in NYC) Here's a pretty good Lee discography, and I'm not seeing anything else that's obvious in it (in the way of other duo recordings w/ Bauer). https://www.press.umich.edu/pdf/0472115871-discography.pdf