Rooster_Ties

I was thinking about doing this as a poll, but I didn't want to "lead the witness", so to speak. By "defend your choice", I mean on the artistic merits --- not on whether BN would have been open to it based on the business climate at the time, and not on whether the Liberty era BN would have been as open to these possibilities, as they might have been if BN hadn't been sold to Liberty in 1967. In fact, just for the sake of this thread - let's assume that Liberty didn't buy BN until late 1974. That would give us a full 7 more years to play "what if", in terms of who could have gotten recorded - and gotten the chance to be leaders on their own dates. And, let's assume that the bottom didn't fall out of the jazz market quite so quickly as it did. I know, I'm suggesting that we rewrite history - but that's what this whole thread is about anyway!! Also, I want specific suggestions for what year artist XYZ could have and should have been given the chance to be their own leader. I want real, plausible suggestions. In fact, it might even be fun to suggest potential line-ups. And as long as we're at it, you can also suggest additional ("hypothetical") BN albums by established BN artists, who either fell away from the label sometime in the 60's, or who only got to lead a very few BN dates. I'll go first... =============== Charles Tolliver - I think Tolliver could have easily lead 4 or 5 BN dates of his own, the first one being recorded in 1965, with the following line-up... Jackie McLean (an obvious creative and marketing choice, since Tolliver was on three of McLean's dates) or James Spaulding (who really played with Tolliver in '65, as documented on that "New Wave in Jazz" disc) Herbie Hancock (played on at least a couple McLean albums, one of which included Tolliver, and Herbie was on Tolliver's first album in 1968) Cecil McBee (who did record for BN, with Jackie, and often with Tolliver in the early 70's) Joe Chambers (a frequent BN drummer on all kinds of dates) And my defense of Tolliver as a real candidate for his own mid-60's BN date (several, in fact) is how incredibly strong he is on the Jackie McLean albums he's on between 1964-66. For example: A friend of mine bought the McLean Mosaic just about a year ago (for the first time), and it was his first time ever hearing any of the McLean BN material with Tolliver. My friend said that Tolliver just about steals the show. Jackie's playing is fantastic, but nearly every one of Tolliver's tunes are the strongest tunes on every McLean album he's on, overshadowing McLean's own tunes (which are still really darn good). I absolutely concur... More generally, I think Tolliver was one of the strongest hard-bop composers (and players) to come on the scene after 1963 (which was really a watershed year for jazz, and hardbop in particular, in terms of integrating and reacting to the the 'New Thing', both of Ornette, and Coltrane). And, in his many sideman appearances, (I think) almost every tune that Tolliver wrote and recorded in the 60's is a classic. How Tolliver didn't get a record an album under his own leadership until 1968 is beyond me!!!

The new colors are indeed cool, both literally and figuratively. I'm going with the new ones for now...

Hey Chuck... I'm curious about your thoughts on Mr. Spaulding. I suspect you probably like him a fair bit, especially in the more progressive (or at least hard-driving) contexts. ========== I'm starting to get the impression that Spaulding was sometimes capable of playing 'kinda-sorta' in the same ballpark as Jackie (particularly on "All Seeing Eye" and "Natural Selection" --- and I'll hafta spin the Larry Young and Sam Rivers again soon, I haven't heard them in a while). In particular, there's one solo that Spaulding plays on "All Seeing Eye" (track 3 = "Chaos") where I really thought it could have been Jackie (I even looked at the CD case to confirm that it wasn't Jackie), even if the language wasn't quite the same - I thought the 'fire' was just as hot, and the ideas were just as strong (and strangely enough, the tone was a little similar). In particular, Chuck, do you think Spaulding would have been deserving of getting to be the leader on a couple Blue Note dates, back in the day, say sometime around 1965 or 1966?? Maybe it's just the contexts Spaulding plays in (which I like so much), but in some ways I think Spaulding is my second favorite alto player on the 60's BN roster. In fact - who else was there (on alto, on BN, in the 60's)?? Sonny Red?? I like Red, sure (particularly on the mid-60's Byrd dates), but he's not quite Spaulding in terms of versitility --- I don't think Red did any progressive dates. Who else?? I must be forgetting one or two alto players on BN. I can more easily think of tenors - maybe BN was more tenor-heavy that decade?? Surely there must be at least one more than just Jackie, Spaulding, and Red?? Who am I forgetting?? Not Bartz - he never did a BN date that I can think of. No wait, he was on a couple Tyner dates, but very late in the 60's. Who else played alto on BN during the pre-Liberty era?? (but after, say, about 1960)

That was the exact same reasoning for why I speculated that I might vote for "Black Fire", way up in my very first post that started this thread. For me, "Black Fire" seems like the most "Andrew Hill"-ish Andrew Hill album, out of the whole bunch, even over "PoD". In fact, I've never thought "PoD" sounded particularly "Andrew Hill"-ish, except in some of the parts where Hill is soloing. But, other than that - "PoD" always seemed, somehow, something else entirely. In fact, I think very early on, when I had less than 500 CD's (a LONG time ago), I think I tried organizing my CD's by where I thought they should go, and not by who's name was on the spine. I think I may have catagorized "PoD" as sounding to me (at the time) more like an Eric Dolphy album, and I think I used to store it briefly next to "Out to Lunch". ( FYI, I still haven't voted, but I will by week's end. ) You know, I haven't listened to "PoD" in ages, but with all this renewed interest in Hill that I've drummed up - I probably should, especially after having heard nearly all the other Hill sessions within such a short period of time. May bring me some new insights to "PoD".

Yes!!!

Harold Vick!!! ( And, damn it, I'm still thinking of a an obscure guy with a "V" first name. Some hints - he was a on at least three BN recordings during 1960-1970 -- and, he was a bass player. )

Are you seriously suggesting that you're not interested in cleavage? I guess if you are always playing with organs, you lose interest............ ROTFLOL!!!!

Oh yeah, I had forgotten about the "Frantic" title, but now that you mention it - that does kinda ring a bell. I used to be far more deeply ensconced (maybe a better word these days would be "embedded") in Miles music, about 10 years ago, but I've forgotten lots of the details since I backed off from my focus on Miles.

Sorry to intrude on the game - everyone just keep it going around any side discussion I'm imposing here. James, I'm afraid I've never heard of "Vernell Fornier". And based on his listing in the AMG, I didn't see any BN dates that he had played on. Good try though!!

Tom Varner ( And, since nobody got this last time, I'm still thinking of a good (but probably obscure) guy with a "V" first name. Same hint - he was a on at least three BN recordings during 1960-1970. )

Bennie Maupin

Your loss, Dan, and ours too. Hate to see you go (sincerely). But, that said, I'll also say this... Geez, do you stay in your house all day long, just cuz you can't "automatically" ignore the people and things you don't like, that you might encounter during the day?? You realize that by filtering out the people who's political views you don't like, you automatically will/would be filtering out everything they say - even the jazz related stuff too. Kinda sad, if you ask me...

I voted for the Live 1967 material, which I've heard about 3-4 hours of. Much as I also like the Plugged Nickel material, I *love* the '67 Live material, for two reasons. 1) They started doing more of the new material, although some standards still too. And, 2) there's a refinement - without any loss in energy - that just isn't quite there in the '65 material. Maybe that wasn't their aim in '65, and in talking with Herbie (briefly) after a show of his about 5 years ago - he said that they were at a creative impass when the Plugged Nickel material was recorded. At the time, they thought "why the hell are they recording us, now?? - of all times!!". Then, years later, in retrospect, he said that the material really was far more interesting than any of them could have predicted. Somehow they found a new kind of creativity, within their stuggle. In many ways, I think the Plugged Nickel recordings are just as 'free' as anything Miles did in the 70's. That said, there's a subtleness, a more integrated feel to everything this group did in 1967, both in the studio and on stage. And the live material from 1967 combines what I love about the 1967 studio material, with the energy and punch of the live 1969 band.

I wanted so much to vote for the 'progressive' albums (which I love), but I kept thinking more and more about "Solid", and how incredible Joe Henderson and Spaulding sound together. So, I did it - I voted for "Solid". Hope that isn't considered "wimping out", cuz "Solid" is still fairly progressive for a Grant Green date.

http://www.allmusic.com/cg/amg.dll?p=amg&u...l=Adpddyl74xpeb

Yeah, Clarkson also sang some 'heavy' tune on American Idol a couple weeks ago - and it was pretty lousy, and didn't fit her at all, IMHO. Gotta confess, I've been watching most of the American Idol episodes this time around. My wife got me hooked - I can't help it!! Talk about a guilty pleasure...

PS: I had a tough time picking only 10 specific albums with Spaulding, so I combined several that seemed similar. If there's one particular album that he really stands out on for you, please post it to this thread - if it's isn't a choice of it's own up above. I haven't voted yet, but over the last few months I've found myself playing back specific Spaulding solos, to marvel at his playing. In no particular order, the standouts for me are "Solid", "Soothsayer"/"Schizophrenia", and the list of 'progressive' dates.

Yes, Dan, please do stick around. Be a shame to loose you. ( Come on, you can "manually" ignore who you don't really want to read. It's not that hard. )

Been wanting to get a "James Spaulding" discussion going for a while. I sure wish he had been the leader on 2 or 3 dates himself, for Blue Note, in the 60's. Funny, I think only two of his own compositions appeared on record anytime in the 60's... "Kryptonite" from Wayne Shorter's "Schizophrenia" "A Time To Go" from Bobby Hutcherson's "Patterns" Here's what appears to be a pretty complete James Spaulding Sessionography, although it's in French. Here's a translated version - although beware, the translation software screws with song titles and even the names of people sometimes.

Matthew Wilder - Guitar, Piano, Programming, Producer Betty Wright - Vocals (bckgr) Rick Todd - French Horn Desmond Child - Producer Bruce Dukov - Violin Evan Rogers - Vocals (bckgr), Producer Cathy Dennis - Producer Carlos Alvarez - Engineer, Mixing Louis Biancaniello - Arranger, Keyboards, Programming, Producer, Engineer, Mixing Charlie Bisharat - Violin Debra Byrd - Vocals (bckgr) Chris Camozzi - Guitar Jeff Chestek - Engineer Steve Churchyard - Engineer Bob Clearmountain - Mixing Brian Coleman - Production Coordination Larry Corbett - Celli Kenneth Crouch - Organ Clive Davis - Executive Producer Joel Derouin - Concert Master Tony Duran - Photography Doug Emery - Arranger, Keyboards, Programming, Engineer Stephen Ferrera - Percussion, Drums, Producer, Mixing, A&R Josh Freese - Drums Berj Garabedian - Violin Paul Gendler - Guitar Larry Gold - String Arrangements, String Conductor Jimmy Hoyson - Engineer Peter Kent - Violin Rhett Lawrence - Guitar, Scratching, Arranger, Programming, Producer, Mixing, DJ, Pro-Tools Lee Levin - Drums, Engineer Clif Magness - Guitar (Acoustic), Bass, Piano, Arranger, Guitar (Electric), Keyboards, Programming, Producer, Engineer Stephen Marcussen - Mastering Tony Maserati - Mixing Cindy Mizelle - Vocals (bckgr) Peter Nocella - Viola Steve Pearce - Bass Dave Pensado - Mixing Csaba Petocz - Engineer Tim Pierce - Guitar Michele Richards - Violin Olle Romo - Guitar, Pro-Tools Robin Sellars - Engineer Mike Shipley - Mixing Tommy Sims - Bass Leslie Smith - Vocals (bckgr) Carl Sturken - Keyboards, Producer, Drum Programming Chris Willis - Vocals (bckgr) John Wittenberg - Violin Ken Yerke - Violin Andy Zulla - Engineer, Mixing, Pro-Tools Dave Arch - String Arrangements Matt Howe - Engineer Jim Watts - Pro-Tools Jimmy Briggs - Mixing Assistant Conesha Owens - Vocals (bckgr) Danielle Brisebois - Vocals (bckgr) Suzie Katayama - Orchestra Manager Dan Warner - Guitar Sam Watters - Arranger, Vocals (bckgr), Producer, Engineer Sharlotte Gibson - Vocals (bckgr) Randy "The Emperor" Jackson - Bass Steve McMillan - Mixing, Pro-Tools Frank Harkins - Art Direction Cesar Ramirez - Assistant Engineer Pathik Desai - Guitar Quentin Dunn - Engineer Mike Elizondo - Bass Emma Kummrow - Violin Charlene Kwas - Violin Gregory Teperman - Violin Mary Griffin - Vocals (bckgr) Dino Hermann - Engineer Steve Mac - Keyboards, Producer Brett Kilroe - Art Direction Greg London - Engineer Darrin McCann - Viola Al Hemberger - Engineer Jules Gondar - Engineer Gordon Goss - Assistant Engineer Andrea Derby - Production Coordination Chris Laws - Engineer Daniel Pursey - Assistant Engineer Abe Laboriel Jr. - Drums Craig Lozowick - Engineer Wayne Rodrigues - Scratching, DJ Bob Becker - Viola Jim Gasior - Piano Patrick Woodward - Mixing Assistant Rich Balmer - Engineer Kevin Harp - Assistant Engineer Corky James - Guitar Jeff Kanan - Engineer Kelly Clarkson - Vocals, Vocals (bckgr) Conrad Golding - Engineer Dabling Harward - Vocal Editing

Airto Moreira

Please, try NOT to focus on the size/length of the Plugged Nickel material, in terms of voting. This isn't a "Desert Island" poll (I'm not asking you to pick only one release to take with you to that "Desert Island" that we all get asked about all the time ). What I'm getting at is that there are subtle changes in this band, from album to album. And the live versions of this band were quite a bit different than what they recorded in the studio. Very different vibe, different energy. Which version of this band most interests you??? Or, perhaps another way of asking: If you could snap your fingers, and suddenly discover and release one or two hours of 'new', high-quality material from Miles/Wayne/Herbie/Ron/Tony... Which version of this band would you like to have that new "undiscovered" material come from??? Hopefully this is a slightly more interesting twist on this topic, rather than just "which one is your favorite" - although that kind of is the question too, in a way. Here's a couple links to a good Miles Davis sessionography/discography, to further the discussion... link: Miles Ahead Sessions: 1945-1991 link: Miles Ahead Discography: 1945-1991 ( And damn, it just turned out that there were 10 phases/flavors of this band, and the 'poll' function only allows 10 items - what luck!! )

Airto

Thanks JohnJ - glad to know I'm not the only one who loves "Speak..." that much too. ( Is your last name Jingleheimerschmidt, by any chance?? )

Richard Williams