Rooster_Ties

Thanks for the link, and the suggestions. I have nearly everything Moran's every recorded (including most of his sideman appearances), but I've never heard of Noah Rosen. Always new music and new musicians to pursue!!!

I was looking for a particular Andrew Hill quote with Google, and found this paragraph from an on-line review of "Judgement!": So I go to the AMG, and found this bio of Iyer (CLICK HERE for bio), and there are reviews of several of his albums. They all look good on paper. I've never heard of this guy. Should I have??? The AMG guide says he's worked a bunch with Steve Coleman, and is kinda in the M-BASE camp.

I'm sorry, what were you saying??? I generally agree. For most people, the notion of sitting down and listening to instrumental music (of any kind), for anything longer than about 5 minutes, is probably pure torture. Then again, I surprise myself at the degree to which going to hear Mahler's 7th Symphony (which is over an hour long), has kept my attention each of the two times I've heard it performed live. (But even one movement into a Mozart or Hayden symphony, and I start to fidget, big time!!) I think part of it is TV, and especially the younger "MTV" generations (of which I'm almost a part - I'm 34 years old), have been raised to have attention spans that last about 5 or 10 minutes. And when it comes to television news, we all have become ever so used to soundbytes of 20, 15, 10, or even closer to 5 seconds. When was the last time you heard a segment of a political speach that lasted more than a minute?? (Other than on C-SPAN, or maybe PBS) Most classical music, and I would argue much jazz - is about delayed gratification. That deeper connection you feel with particular tunes, or particular soloists - that only comes with repeated exposure (and at least some focussed listening). I think this is especially true of classical music, where it often takes a dozen or more listens to a large-scale work, before I can even begin to get 'inside' it. (And not just modern works, but even the big works of the 19th Century.)

WOW!!!! WTF!!!!!!!!!!!!!

I wouldn't downgrade it as much as Eric. (Frankly, I think Leeway is my least favorite Lee Morgan date - for what it's worth.) Or another way to put it - it's a more solid date (in terms of every track being relatively good) than Hank Mobley's "Reach Out" (which suffers from two very lack-luster pop covers). Yeah, "The Rajah" may not be the best Lee Morgan ever, but if you find it used for $9 or $10 -- I'd definitely snap it up. (Or even $12, if you feel like it.) I paid about $12 for mine (on eBay, with shipping), and I wasn't disappointed with it.

What a thread!!!

Saw David Murray perform at a club in St. Louis about 8 or 9 years ago. When I met him after his last set, to get him to autograph a CD -- I mentioned I was from Kansas City, and he immediately started talking about the Negro Leagues Museum (which is in Kansas City), and said that he was in the beginning stages of writing an opera (or some such such) about Black Baseball. (No idea if he was just bullshitting or not, but he seemed high as a kite the more we talked --- a serious space cadet.)

Cool!!! Way to go!!!!!!!!!!!!!!!!!

Another Organ Trio???? BATTLE OF THE BANDS!!!!!!!!!!!!!!!!!!!!!!!!!!!

As long as we're being nosy - might we ask which titles they were interested in?? Just curious...

ROTFLMAO!!!!!!!!!!!!!!!!!

Well, in some ways - I definitely heard bits of Joe Henderson in Osby's most recent work. Not so much in terms of compositions, but in terms of Osby's approach to soloing. Same thing with Gary Thomas too, especially in terms of Thomas' deep and dark tone.

CLICK HERE for Lonnie Smith CD. All the usual disclaimers apply... Also, the same seller also has RICHARD "GROOVE" HOLMES Comin' Home SEALED CD Jazz with the same "buy-it-now for $8 and get free shipping" offer. CLICK HERE for Richard "Groove" Holmes CD. Seller also has some other CD's for similar buy-it-now prices (with free shipping), but these were the two that jumped out at me.

Excellent find on a great disc. This one regularly goes for $20 or even $30 on eBay.

up for anyone who missed this thread the first time.

and again...

Free For All beat me to it -- but "Brilliant Circles" (on Black Lion) is, indeed, brilliant!!! Sound-quality is so-so, but the music is fantastic, and not to be missed!!! Cowell's other release on Black Lion is also a keeper - called "Travellin' Man" when it was released on CD, it was originally called "Blues for the Viet Cong" (although I suspect it was later released on LP with the "Travellin' Man" imprint too). Whatever you call it - it's a trio disc, and is VERY good!! (Both of the Black Lion titles are from 1969.) "Musa" is an excellent solo-piano album (on Strata East, from 1973), which can often be had for only $7 from Dusty Groove (although they're currently out of stock). "Live At Maybeck Recital Hall, Vol. 5" is also an excellent solo-piano outing, and here's one for $7 (CLICK). "Marian McPartland's 'Piano Jazz' With Stanley Cowell" is also available on CD, and is quite good, and the interview parts are pretty interesting. (It's a straight release of her one-hour radio-show, including solo-piano from Cowell, one or two duets, and interview segments between the tunes.) And Max Roach's "Members Don't Get Weary" from 1968 features Cowell, Tolliver, and Gary Bartz - and includes three well-known Cowell tunes ('Abstrutions', 'Effi', and 'Equipiose'), and is on CD as of last year. Also, a work of caution about Cowell's 1995 CD "Setup" (on SteepleChase). It's very 'so-so' at best, and really doesn't come together all that well. The trombonist (Dick Griffin) sounds second-rate (or like he was having a bad day) with tons of intonation problems. And while I normally like both Eddie Henderson and Rick Margitza (both of whom are on this date) - neither one sounds particularly 'on'. Avoid "Setup" if you can, or I'll be glad to sell you mine quite cheap. PS: Has anybody here ever heard Jack DeJohnett's "The DeJohnette Complex" from 1968??? - which has Cowell, along with Bennie Maupin. I've never heard it, but it looks great on paper!! (With another 'Equipoise'!!)

Wow, where'd you see it?? On the one hand, I half agree with you. On the other, seeing any picture of Miles in the '70 in a public setting (even in an ad for booze) is kinda half-cool. Would depend on the context (and location too, perhaps).

'up' again...

Link: http://www.negroleaguebaseball.com Link: Negro Leagues Baseball Museum (right here in Kansas City!!) Link: http://www.blackbaseball.com Do a Google search on "negro leagues baseball" and you'll find dozens of good sites. Enjoy!!!

Interesting. Also, I think there's some famous basketball player (recently) also named Tyrone Washington. (Whenever I do Google searches for Tyrone's name, I always have to search on the following key: "tyrone washington –basketball".)

Great choice!!! "Beatrice" is one of the most beautiful tunes ever written, IMHO. I haven't picked up the Conn (yet), but have the Mosaic - and will certainly give this a listen soon.

I still think Joe's the father of modern tenor playing. I hear aspects of him in all the younger (under 35, plus or minus) tenor players I like most -- and those who tend to be reguarded as being among the most important tenor players of the generation after Joe (and/or the generation after that). But one example... I hear more of Joe in Ravi Coltrane's playing, than I hear of his father, or anybody else. Chris Potter too (often, but not always). Mark Shim (definitely). Some others I can't think of off the top of my head. Gary Thomas (sometimes, at least in terms of his tone). I don't mean to say that Joe was light years ahead of everybody else, but to me - he's every bit as important as Trane, or Sonny Rollins, or even Wayne Shorter (though Wayne probably tops Joe slightly, in terms of compositional skills. Not that Joe didn't write some great tunes - which he certainly did.)

I wish I knew what the answer was, but I think part of it is the constant programming towards the older "subsription" target audience at the Folly Jazz series. I'm guessing that upwards of 75% of their subscribers are over the age of 60. And anything the least bit 'progressive' - and they walk out after the first set (or at least quite a number of them do). And more than two concerts per season like that, and they stop renewing their subscriptions. (If it ain't got that swing, it don't mean a thing.) So for years now, the Folly has programmed to the lowest and most conservative common denominator (at least more often than not). BUT, that doesn't explain why single-ticket sales haven't picked up some of the slack, for shows like Dave Holland's group a couple years ago. (???) I can't help but think that if they programmed MMW on that series (as part of some well labeled "progressive" sub-series), and then booked a 'Dave Holland'-type act as part of the same (well labeled) 'progressive' sub-series (so the 'blue-hairs' know to stay away) -- then they might be able to signal to a younger crowd that Holland's group is just as great as MMW. (Or maybe that's just wishful thinking.) Or maybe program somebody like John Scofield, which kind of splits the difference between MMW and Dave Holland. I wish I knew the answer. Seems like Columbia, MO (big 'university' town 2 hours east of Kansas City, where the University of Missouri is), and even Iowa City (with the University of Iowa) seem to know how to bring people out of the woodwork. Is it just that people are too lazy to come out in numbers for concerts?? Or are ticket prices the problem?? (Folly ticket prices are about $25 a head these days, I think.) I've heard that people in Kansas City are notoriously cheap, to the point of turning around to go somewhere else when presented with something as simple as a $5 cover charge to get into a club like The Blue Room (best club in town, holds about 150 people, I'm guessing). I know, cuz I've seen this any number of times, where a groupl of 4 to 6 people all arive together, and then when they realize it's going to cost them $20 to $30 to get in the door (total cost, not individual cost), they turn tail and run. Hell, Kansas City isn't like anywhere else I've been in St. Louis, or Chicago, or NYC -- where there's routinely a $10-$15 cover, PLUS a one or two drink minimum (at $5-$8 per drink, even just for coffee or a soda). Man, we've got it so cheap here in Kansas City, and people still balk at cover charges. Not everybody - but enough people to have a financial impact on things. I definitely would welcome more discussion on this topic. What's it like in your city????