Rooster_Ties

Thanks Chuck, looking forward to it!!

Hi Chuck. Appreciate your honest opinion - even when it differs from mine. (And lord knows there's musicians I've never connected with, even after years and years of trying. I still struggle to really catch the Coltrane bug, even though I'm all over Ornette (his entire career), Joe Henderson (nearly everything, including most of his Milestone output), and damn near every note Wayne Shorter recorded between 1965 and 1970, including all the Miles bootlegs. I have nothing but the deepest respect for Trane, and do like his music (quite a bit, up through about 1963), even if I don't 'love' it.) And hey Chuck, if you don't mind me asking you specifically, what do you think of "Solid"?? I voted for it in this Spaulding pole, despite all my leanings towards the more 'progressive' dates. I really think it's Spaulding's most successful BN date. Also, I think I like it as much as I do, cuz Henderson and Spaulding make an interesting pairing, IMHO. Wish they had recorded together more - although they did on a number of the Duke Pearson dates. At least let me know if you think "Solid" works better for you (specifically Spaulding's contribution), than Spaulding's work on "Schizophrenia". Thanks!! Also, Chuck, are there any alto players, (besides Spaulding), from the 60's - who you think would have fit better into the Blue Note fold? - better than Spaulding?? I'm looking for names to follow-up on, of people who's music I don't really know as much as I should. Thanks (again). Cheers!

Still available. Looks like there are a couple other bargins from this same seller. Usual disclaimers - not somebody I've ever done business with before...

Usual disclaimers apply.... http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...9&category=1056

If I remember right, Dizzy Reece's first BN album, "Blues in Trinity", was supposedly recorded in London. Actually, the liner-notes say it was recorded in Paris (due to musician union rules/laws in the U.K.), but I think it was actually done in London. Somebody on the BNBB confirmed this one time.

Blues For Lou @ www.half.com, $15 plus $2.50 shipping (sealed). Good Gracious @ www.half.com, all kinds of different prices, starting at $8.50 plus $2.50 shipping (for a brand new one), down to $7.00 plus $2.50 shipping for used ones. All the usual disclaimers apply...

Just saw a TV ad for a local oldies station here in Kansas City. It was playing up the "songs you can sign with your kids" angle, which fits my theory stated above... http://www.oldies95.com/ Also found this on their site, probably consistant with their play list (or at least not inconsistant), I would guess... also found this, which is also somewhat telling of their programming choices...

Seriously, is there any other Maupin on record where he plays like he does on Corea's "IS" sessions?? (Meaning Disc #1 of the "IS" material.) I'd buy more Maupin like that in a heartbeat!! (The closest thing I can think of is the Lee Morgan "Lighthouse" set.)

Just a hunch, but I can think of a few ideas for why... 1) There's a larger listener base for really vacuous "oldies" music, like The Archies, who (probably) also never watch the news - or if they do, they piss and moan about the news stations not showing enough "good" news stories. Call it the "Music as Prozac" theory... I'm not kidding - we all know these people, or at least cross paths with them in the grocery store... People who long for a simpler time - and the music you do hear on "Moldy Oldies" stations these days certainly represent a simpler kind of music - the kind everyone can sing along too, the kind nearly devoid of any kind of musical sophistication. 2) I've seen a few "Golden Oldies" music collection ads/infomercials on cable TV stations mostly (although you see them less now than 10 years ago). Some of them seem to be aimed at promoting the more lightweight music of the 50's as being likeable/suitable/appropriate for kids, like ages 4-7 or so. Can't imagine that kids would be a serious 'target' audience (or parallel target audience), but then again - if they're trying to target a generation that are now grandparents (most of them), then maybe there is some kind of subtle tie-in here. 3) In general, I think most radio stations of every genre are all programming to the lowest common denominator. With the FCC regs being relaxed (or obliterated completely) about corporate ownership of multiple stations in the same market - you're finding more and more stations being programmed to absolutely maximize listenership. Not like the really older 50's crowd is gonna stand for any of that Cream crap, or Hendrix freakazoid music, or anything as visceral as James Brown. Nah, why would anyone want to listen to that when there's good old "la-de-la" fun early 50's music, that every person on the planet knows in their sleep. 4) Might also have something to do with the general reduction of listenership for radio in general, and oldies stations in particular. I think there used to be more of an older "Oldies" format, with Sinatra, 40's music, early 50's doo-wop, and other "pre-British-Invasion" styles. Then there was the more late-50's/all-60's format, which had a tiny bit more edge to it. Now, with the audiences shrinking for both formats, I think they're just programming to what's common between them, the dreck you described.

Gotta get my thinking cap on, and figure out what album I would pick (if I'm nominated).

I mentioned this in another thread, but thought I'd better oughta mention it here too... I think John Patton's "Boogaloo" might make for a really interesting and curious "Album of the Week". Anyone else with this album concur???? It's 'inside', it's 'outside', it 'grooves' -- all at the same time!!! It's my all-time favorite Patton album, and it was a session that wasn't ever even released until like 1999, which is at least 30 years after it was recorded. And, after all, this board really ought to do an 'Organ'-centric album of the week sometime, no?? PS: I know, I know - probably not enough people own "Boogaloo" to make it a good choice. If not, I'll just start a thread about it sometime, and see who chimes in about it.

By the way, I tried to make the case for Vincent McEwan back on the BNBB. I realize, he's only on like ONE real jazz date in his whole entire career, John Patton's "Boogaloo" - which was a session that was still in the can until like 1999!! ( ) Still, from that one date, I do think he's a curriously interesting trumpet player. Sure, not at all compared to the 'big' names (and even the 'little' names!!). But, I do really think that he's far more interesting than his incredibly modest output would indicate. (I mean, he's like 10 times more obscure that Tyrone Washington!!) And no, I'm not trying to make any kind of case for McEwan as being some long, lost 'great' trumpeter. Just this: that he's far more interesting than I'd ever expect, for a guy who recorded on one and only one "real" (meaning "heavy" and somewhat "progressive") jazz album in his entire career. And, on an album that didn't even see the light of day until 30+ years after it was recorded. Come on - all of you who own "Boogaloo", admit it. Based on his prior track record, and limited discography - he's a better player than you would have thought, no?? ( OK, I probably won't get anyone to agree with me on this one, but after Chuck dissed Charles Tolliver, I think I'm maybe up for a couple loosing battles!! ) ===== PS: The AMG says McEwan is on one other album, that looks like it might also be a "real" jazz album. Valerie Capers: Portrait in Soul. Hardly much of a review, it only says: "Rare septet, all Capers originals. Worth searching for." Here's the AMG bio for her too: Valerie Capers

Sure, Maupin's great on Lee Morgan's "Live At The Lighthouse", and (IMHO) also very good on Morgan's other BN studio dates. But, for me anyway, *THE* most exciting Maupin I've ever heard, to date, is on... Chick Corea: The Complete "Is" Sessions Damn -- I never knew Maupin had so much of what I love about Wayne Shorter's playing in him!!! I realize that the kind of 'Maupin' on the Morgan "Lighthouse" recordings probably isn't all that far removed from the "IS" sessions. But (and I probably can't quite put my finger on it, or not enough to explain this clearly) - I think Maupin's playing on "IS" (disc #1, particularly), is nearly every bit as exciting for me as any of Wayne Shorter's work on any/all of the live recordings by Miles Davis, from 1965 through 1969. (And, that's about the highest praise I can give, for that kind of tenor work.) Anybody else crazy about Maupin on the "IS" discs?? --- or at least on disc #1 of the "IS" set (I know, I know, I know, disc #2 is a bitch to get into (at least for me) --- and I think I've listened to disc #1 about 20 times as often as disc #2, which just isn't my bag. Not enough structure for me, though someday it may 'click' for me yet.) I think the week I got the Complete "IS" Sessions, I musta listened to it (meaning disc #1) at least 10 or 15 times, just that first week!!!

I thought of another one.... Kenny Dorham, on Andrew Hill's "Point of Departure" (1964) And, in a sorta weird way, there's also this date!! Vincent McEwan, on John Patton's "Boogaloo" (1968) Not really as 'out' as Patton ever got (later on), and if I remember right, it's the tenor player, Harold Alexander, that is the most 'out' thing on "Boogaloo". But, still, McEwan is basically a hardbopper playing in a mildly 'creative' context, albeit one that grooves!! And actually, Patton's "Boogaloo" makes be wish there was more McEwan on record, in small group contexts where he could solo. He's nothing that'll change your world, not even in a "Tyrone Washington"-kind of way (not even a little bit). McEwan's just a curious and occasionally interesting player (at least from what little I've heard), on what is my probably my *favorite* Patton album!!! PS: I think Patton's "Boogaloo" might make for a really interesting and curious "Album of the Week". Anyone else with this album concur???

Oh yeah, another obvious one. I think I do the same thing with Dolphy as Ornette - since 95% of their output is on other labels, and since neither one recorded as a sideman on any other BN dates (except "Point of Departure" and "New and Old Gospel"), I mentally just think of them as not being part of the Blue Note, or at least not at their core.

Oh yeah, I had *completely* forgotten about Byrd's "Free Form". In fact, I think that particular tune ("Free Form", if I remember right), is simply one of the earliest 'free'-ish tunes in the entire BN catalog!! I remember, when I first heard that album - and that tune in particular (which I remember as being much more 'free' than the rest of the album), I simply couldn't believe what my eyes were seeing on the back cover. "Was this really recorded in 1961????" - I asked myself. The tune is credited to Byrd, but I always thought that the sidemen had the bigger hand in this case. Good suggestion!!!

That's one of the things I said to Hutcherson, backstage a couple years ago. "Thank you for giving Joe Chambers so many tunes on all your albums." I think there's probably a good album-and-a-half worth of Chambers tunes, between all the Hutcherson albums. Heck, half of "Components" is all Chambers, and it's really damn good stuff. Actually, I suspect I would have enjoyed any (hypothetical) "classic era" BN albums lead by Chambers, more than either of Tony Williams actual "classic era" BN albums. (Not that they're bad, but I've never really gotten into either one very deeply. Been ages since I've listened to either one, so that's another couple I need to dig out and spin soon.) In my 'pretend world', I think Chambers could have probably done two albums on BN, but anything more than two stretches the "plausibility" factor a bit too much, even for me.

What if I took back the comment about your "big ears"??? (even if they do look like this)

Absolutely, Woody Shaw for sure. We need to come up with some line-ups for a few great Woody Shaw BN albums from the late 60's, that (unfortunately) never were to be. And actually, I normally think of Woody Shaw's "Cassandranite"/"In The Beginning" as almost being a real Blue Note album. Hell, I think every sideman on the thing was a mainstay at BN.

Here's a link: Zbigniew Seifert. Must admit, he was a name I had never heard of... Oh yeah, the game... Sylvester Kyner (better known as Sonny Red)

And, you gotta click HERE for more Zoot!!!

OK, here's a topic I can really get into, cuz this drives a hell of a lot of my purchasing decisions of late. Over the last 2 years especially, I can't seem to get enough of trumpeters from the 60's, who were basically hardboppers at heart (and nearly all their own releases and tunes were basically 'hardbop' in nature), and who were often very forward-thinking hardboppers -- AND, who recorded as sidemen on bunches of really progressive dates, like these... Lee Morgan on... Larry Young: "Mother Ship" (1969) <---- Double Wow!!! Andrew Hill: "Grass Roots" (1968) <---- Wow!!! Andrew Hill: "Lift Every Voice" (1969) <---- Wow!!! Elvin Jones: "Prime Element" (1969) Grachan Moncur III: "Evolution" (1963) Freddie Hubbard on... Ornette Coleman: "Free Jazz" (1960) Eric Dolphy: "Out to Lunch" (1964) Andrew Hill: "Compulsion" (1965) <---- Wow!!! Andrew Hill: "One for One" (the 1965 half of this double-LP) <---- Wow!!! Bobby Hutcherson: "Components" (1965) Bobby Hutcherson: "Dialogue" (1965) Sam Rivers: "Contours" (1965) <---- Wow!!! Wayne Shorter: "All Seeing Eye" (1965) <---- Wow!!! Woody Shaw on... Chick Corea: "Complete 'Is' Sessions" (1969) Stanley Cowell: "Brilliant Circles" (1969) <---- Wow!!! Eric Dolphy: "Iron Man" (1963) Andrew Hill: "Grass Roots" (1968) <---- Wow!!! Andrew Hill: "Lift Every Voice" (1969) <---- Wow!!! Andrew Hill: "Tomorrow is Now!!" released as --> "Passing Ships" (1969) <---- Wow!!! Jackie McLean: "'Bout Soul" (1967) Jackie McLean: "Demon's Dance" (1967) McCoy Tyner: "Expansions" (1968) Tyrone Washington: "Natural Essence" (1969) <---- Wow!!! Larry Young: "Unity" (1965) <---- Wow!!! Charles Tolliver on... Gary Bartz: "Another Earth" (1968) Andrew Hill: "Dance with Death" (1968) <---- Wow!!! Andrew Hill: "One for One" (one of the 1969 sessions only) <---- Wow!!! Jackie McLean: "Action" (1964) <---- Wow!!! Jackie McLean: "It's Time" (1964) <---- Wow!!! Jackie McLean: "Jacknife" (1966) <---- Wow!!! I know a few of these albums aren't quite as far "out" as most of the others, particularly the Jackie McLean albums with Tolliver - but Tolliver's playing is so progressive with McLean, I had to include it here. Several months ago I had the McLean Mosaic out, after not having heard it in over a year - and I was blown away at how free many of Tolliver's solos were. In some cases, I seriously thought I might have heard some Ornette (on trumpet!!!) influence on Tolliver. Or, at least some of what Tolliver was doing reminded me of the freedom of Ornette on trumpet. Does anyone else here get off on this shit as much as I do!!!???? (Sorry, I had an "Aric" moment there for a just a second. ) If only there were more albums like this in the vaults. Some more stuff that hits me the same way... Richard Williams on half the tracks (the 'progressive' ones) on Booker Ervin's "The In Between", does the same thing for me too. Michael Ray's work with Sun Ra - cuz he's kind of an "inside/outside" trumpet player (well, he's more "outside" than "inside", but it tickles the same part of my brain as the trumpet stuff listed up above.) Tim Hagans (sometimes), cuz he's done a project or two that's a little bit more 'out', but he's still basically a hardbop guy, mostly. You get the idea. I'm trying to think of some others. What/who am I forgetting???

I'd still take a chance on Jackie, years before I'd ever book Freddie Hubbard these days. I understand Hubbard's track-record over the last 5-10 years is pretty spotty, and that might be putting it kindly. I tried to catch Freddie in St. Louis about 10 years ago, for a 4-night gig (Wed-Sat), I think he only played one hour on the Wed. show (which I missed), and then didn't show at all for the other three. (Actually, what I heard was that he played the heads of most of the tunes, and only three short solos on that Wed. night show - and then didn't play the last set at all.) He (meaning Freddie) missed a Kansas City gig here 6 or 7 years ago too - just never made it, and from what I heard, he never gave any good reason for missing the gig. ===== Anyway, back to Jackie... As long as there isn't too much 'up-front' money involved (non-refundable), and the airfair to fly him there isn't too expensive - I'd say maybe take a chance on Jackie. Just make sure you pay for an extra hotel night for him, one night before you need him. I'd imagine that an overseas flight light that would take a lot out of him. Hell, it takes a bunch out of me - the three times I've been overseas - and I was in my 20's and 30's each time. The other thing is that if he's questionable for gigs these days, and he knows it, then he might be less likely to agree to even take an overseas gig, where the logistics are more complicated, etc... Good luck, and let us know how it turns out.

Marvin Hamlisch??? Nah... Merl Saunders??? Closer, but still not quite... Marcus Miller??? Well, that's open to debate too... Mike Zwerin!!! Yeah, that'll work!!! (Gotta confess I had to look Zwerin up, to get the spelling - but I did remember the 'Mike' part, and that he was the guy on the 'live' Birth of the Cool material. Actually, his AMG bio was far more interesting than I ever imagined: Mike Zwerin (AMG bio). Hell, I would have bet $10 that he didn't even have an AMG bio, but then I just thought he was some obscure trombone player from back in the late 40's.)