Rooster_Ties

So then I just need to sneak Sun Ra's "Brainville" into your tune list (it is in The Real Book - though I wouldn't have a clue if the changes were correct), and start sending the right mental waves your direction some night, and just wait for it to happen!!

I too thought Hootin' and Tootin' was a much better release (I have the Conn version, with the extra session), than I was expecting. a VERY solid date, and well worth searching out for those that don't have it.

At least based on what I've heard in recordings, Al can nearly do no wrong.

Not even close... Come on, "a preemptive F.U. to everyone...", what kinda crap is that?? Let me show ya how it’s done... ===== And, like how the hell would you know anyway?? Always flappin' your jaw with the craziest shit I ever heard, in threads you don't even have a clue about anyway. I get so tired of your shit, all the time with the same stupid-ass 'logic' that makes no fuckin' sense, drunk or sober - hell, you can't even imagine. If only this board had one of those "add user to my ignore list" functions, cuz I'd banish your ass there so damn quick. And then my Organissimo surfing experience would like instantly improve about ten-fold, with the very first thread I saw that didn’t have any of your dumb-ass blather every fucking-other post. In fact, wouldn't it be great to have automatic surfing controls, like those "parental control" filters that filter out porn??? But hey, get this -- only instead of porn, there was like various levels of "bullshit" it could filter out. Like you could filter out only out-n-out liars, or filter out liars plus people that just exaggerate every god-damn thing. But what would be the best is if you could just have a "filter out anything from an idiot" checkbox, cuz then that's all I'd ever have to do to never see any of your crap - ANYWHERE on the whole Internet - ever again!!! Like if I was surfing on other boards, your shit would NEVER even get through to my browser in the first place. Man, that would be heaven, sweet heaven... AND, if everybody on the whole Internet had 'filters' like that, you know they'd all use 'em. And then, even your own mother wouldn't get e-mails from you, even again, cuz of what a dumb-fuck you are. Man, somebody get crackin’ on inventing those "Internet idiot" filters, cuz I can tell you they’d be a big hit with everybody, everywhere -- as long as you're doin’ anything on the Internet - that’s for damn sure. HELL YEAH!!!!

God how I hated/loved that one. Brings back a FLOOD of memories, for sure!!! / I've forgotten - did we ever dertermine why Chuck was such a jerk??? Any ideas????

Hey Conn500 - I'll be curious to hear what you think of this one. I borrowed it from a friend years ago, and at least at that time I thought it was a pretty 'out' date, probably one of the most 'out' things Joe's ever recorded - actually. For some reason or another, I never did pick it up myself - probably just too expensive when I did see it, which wasn't ever that often. If you find you don't care for it, I'd be happy to provide it a happy and caring home... ...if ya know what I mean.

Posted on Fri, Jul. 25, 2003 Eldar Djangirov taking his piano chops to West Coast By JOE KLOPUS The Kansas City Star He came to town five years ago to immerse himself in the never-ending task of learning to play jazz. And now, as he leaves town, he knows he has a healthy start. Pianist Eldar Djangirov is 16 now, much taller and much deeper-voiced than when he came to Kansas City from Kyrgyzstan. He's a young veteran, having recorded two CDs, appeared on the Grammy Awards telecast and played on public radio's "Marian McPartland's Piano Jazz." It has been thrilling to hear his playing grow and mature. But he and his family just moved to San Diego, where his father, mechanical engineer Emil Djangirov, took a new job. "We're doing it just for the change, and maybe there'll be more opportunities," the pianist says. This makes his concert appearance on Wednesday at the Cherokee Christian Church a farewell of sorts. "In Kansas City I've met beautiful people all over the place," he says. "They're so kind. And you don't find that everywhere. People are so open-hearted, and they want to help you....I think back to when I came here, and it's hard to believe that people could be so kind. I think Kansas City has the best of what human beings have to offer." When he was 5, he exhibited an amazing ability to reproduce what his father had just played on the piano. (Dad was already a jazz fan, and mom, Tatiana, is a musicologist.) Thus began the journey that took him halfway around the world. Seven years ago, an American who heard him play at a festival in Siberia encouraged the family to come to the United States. "New York is kind of too big," Djangirov says. "Kansas City has that great jazz tradition....My parents and I decided that it would be a good place to live. We just decided to check it out." When he arrived, those prodigious piano skills got noticed. But behind his back, some people said he wasn't improvising as much as simply mimicking what he'd been hearing on records. They aren't saying that anymore. Djangirov has grown into a true improviser. You can hear the evidence on one of his summer projects, a new CD called "Handprints." It's his second disc. The first, "Eldar," appeared in 2001. "From my point of view, that was a long time ago," Djangirov said. "This CD sounds different." Like the first one, the disc features Gerald Spaits on bass and Todd Strait on drums. Both of them say Djangirov's playing can change and grow dramatically over just a few weeks. So, for maximum freshness, little more than a month elapsed between the recording session and the CD's recent release. "It was a pretty quick job but pretty satisfying," Djangirov says. Old pro that he is, he says he feels pretty comfortable in the studio. The disc shows him in a favorable light as a player (hear that killer intro to a high-speed rendition of "Caravan"), arranger (hear the changes he works on Thelonious Monk's "Bemsha Swing") and composer. One of the standouts is his own piece "Perplexity," a musical response to the puzzlements of life. This year, music has already taken him far from Kansas City or San Diego. In New York, he recently played at the JVC Jazz Festival, at an event called "Piano Starts Here." He was one of eight high-powered pianists featured: He was in the company of Cedar Walton, Kenny Barron, Bill Charlap, Ted Rosenthal, Kenny Werner, Joey Calderazzo and Eliane Elias. He's just played a gig in Salt Lake City, too. Meanwhile Djangirov is working at expanding his musical scope. "I've started listening to more players -- not just piano players but more horn players....I'm getting more into the variety of music. (Saxophonist) Michael Brecker, (trumpeter) Roy Hargrove, (guitarist) Pat Metheny. Old stuff, new stuff, everything from the bebop era to now....I think everything I listen to will somehow influence me in a good way." He says he keeps up his usual musical regimen by practicing three hours a day or more. The Cherokee Christian Church show, which he calls "kind of a farewell gig," will feature Spaits on bass and drummer Tommy Ruskin. They'll play a blend of old things and maybe some new stuff, Djangirov says. But no matter how far he goes in music -- or what direction he goes -- he says he'll always remember his time in KC. "People there have helped me live my life," he said.

I'm tempted to say that the only music that might really wake me up in the morning is something like this. <--- or ---> I'm a bear to get up in the morning. When my wife's not around, I usually set two different travel alarm clocks, and a third electric clock/radio, the alarm of which is loud enough to wake the dead. Usually we set a radio to NPR and wake up to their news and information, but I can easily drift off even with the news on. Sometimes I've had some amazingly bizarre dreams that were half mixtures of multiple news stories, and the dreams that were going on already, when the radio came on with the news. B)

Geri Allen, with Charlie Haden & Paul Motian: Segments (DIW, 1989) ..... Anyone here know this album?? I don't, but I stumbled on it while looking on-line for covers of Ornette with piano. They cover one of my alltime favorite Ornette tunes "Law Years". How is it?? That said, it appears that Geri Allen is one of a very small number of pianists who have taken up Ornette's concepts and really run with them. I'll dig out both volumes of "Sound Museum" (which I haven't heard in at least two years), give them a spin today, and report back my findings.

If only Andrew Hill's lone "King" issue had seen the light of day... I think it was to be called "Chained", a still-as-yet-unreleased trio date from about 1967. (Don't have my discography handy at the moment.)

The whole site is in Japanese, so I haven't got a clue about this, except the name of the image itself is... tofu-donuts_2.jpg Yup, that's right, tofu donuts!!!

And on a related note... Barbecued Tofu

For the record I said that Pelt could maybe end up being (meaning in the future) end up being the best thing to happen to trumpet since Woody Shaw. Or (possibly) that could might already be (the best thing to happen to trumpet since Woody Shaw). I never said he was already as good as Woody Shaw. BUT, I do think Pelt might have the potential to be as good as Woody, perhaps. Or maybe not. Only time will tell...

What 'covers' of Ornette tunes, that include piano, work best in your opinion, and why??? And I guess while we're at it -- which one's DON'T work (with piano), and why??? -- as a parallel discussion. ========== AND, while we're at it - let's also talk about Ornette's few recordings with piano, both very early in his career (including the bootlegs of Ornette's original quartet, with Paul Bley in I think it's 1959), and then again pretty recently - with the pair of "Sound Museum" releases, and the album with Joachim Kühn. How well does piano work in Ornette's context?? What about it works well, and what doesn't?? How have different players approached his idiom on piano?? I guess then, the question really is... What the hell is "harmolodic" piano anyway?????? Discuss...

For about the last week, I've been totally diggin' on... Johnny Griffin: "Change of Pace" (Riverside/OJC, 1961/1999) Johnny Griffin - Tenor Julius Watkins - French Horn Bill Lee & Larry Gales - Basses (both players on all cuts) Ben Riley - Drums ...which I got in a trade with somebody here on the board (thanks!!). What a totally refreshing date!! I had never heard this album before, nor had I really even heard all that much Johnny Griffin - for that matter. So then, I thought I'd start this thread to discuss our favorite piano-less, organ-less, and guitar-less small-group recordings – particularly those recorded before about 1970. And unless people think otherwise, why don't we kinda NOT focus on Ornette and Don Cherry's contributions in this discussion, cuz I suspect we've all been there and done that, and more importantly - we mostly probably all know that. I guess what I'm really looking for here, is to discover some cool recordings that I might otherwise be unaware of. Hey, Bird didn't record with just bass and drums ever, by any chance - did he?? Even just one tune?? (Or even during one solo – like maybe the piano laid-out for a chorus or two.) Who was the first to record with just one horn (or up to two or three horns tops), with only bass and drums as the rhythm section??? Any notable "chordal intrument"-less recordings from the 40's or earlier???

I thought of Douglas too, but for some reason - I didn't include him. Don't know why, though, cuz he could definitely hang in Andrew's world, for sure!!! Moran's too, for that matter.

FYI, here's his bio (with a few things set in bold/purple by me), from his website... Very interesting.

From another thread... Cool!! At one time, I didn't think it was possible for people to delete their own threads - meaning threads they had started themselves. Did this change at some point, or did I just never notice this feature before?? (In fact, I seem to remember asking b3-er and/or Use3D to delete a thread or two for me, a few months ago...) Anyway, nice to see this feature, and wanted to point it out for others...

I've often wondered this too. Also, the number of "piano-trio plus sax" albums over the years, must be 10 times the number of "piano-trio plus trumpet". 10 times?? - make that 20 or 30 times, now that I think of it. Don't mean to derail my own thread, but the question posed is a good one. Ideas?? Are there just way more sax players out there, than trumpet players?? That could be it, right there.

Thanks!!! a sample...

Enough stuff from another thread that I thought I'd give Jeremy Pelt his own "corner", so to speak... Wow, indeed!!!! One of the most exciting young (under 35) trumpet players I've heard in years. (I understand he's only like 26 or 27 now.) Holy shit, there's like 3 hours of live Jeremy Pelt MP3's on his website. I had no idea!!! Thanks, man!!!! I listened to Vols 1 & 2 (not visible on the web-site, but available through the directory/link that 'couw' provided), and man - they're simply amazing. And so are Vols 3-5, meaning the one's still up on his web-site. I've already got Pelt's "Insight" on Criss Cross (got it about a month ago), along with two of Ralph Peterson's Criss Cross albums with Pelt. Man, he's like maybe the most exciting young trumpet player I've ever heard - or at least I'm struggling to think of anyone else I've been this excited about before. I say this especially after hearing those live MP3's - which are all some pretty bad-ass live sessions. Gotta burn those off, that's for sure!! IMHO, Jeremy Pelt appears to me, like he could maybe end up being the best thing to happen to trumpet since Woody Shaw. Hell, he might even be that already!! Discuss.

In musical contexts with Andrew Hill and Jason Moran (both as leaders and as sidemen), it seems like we get sax more frequently than trumpers. So the, who are some trumpet players you'd like to hear record with Andrew Hill or Jason Moran?? Pretend Hill and Moran are each planning to do an album with the following instrumentation... trumpet, piano, bass, drums - (and no sax) Who would be good in the trumpet spot??? I'll throw out a couple names I thought of rather quickly... Jeremy Pelt Ralph Allesi Tim Hagans, perhaps After that, I start to run out of ideas, though I'm certain there've gotta be others who could do it well, and even some who would bring something entirely different to the project -- I'm thinking of guys like... Tomasz Stanko or Kenny Wheeler ...who could perhaps serve in a role slightly more akin to that of Benny Maupin's bass-clarinet work on "Bitches Brew" -- or at least provide a vibe more like that, meaning one that would be really different than where I think either Hill's or Moran's musical ideas are normally at. (And by that, I mean that they could add a color, or shading to the proceedings -- as opposed to being an "in your face" soloist, like Freddie was on Herbie's "Empyrean Isles")

Thanks Kevin!! Much appreciated, as always.