Rooster_Ties

Same reaction for me too to this one (plus one ). Oh how I wish Wayne had played tenor on "1 + 1". I'm not much of a fan of soprano anyway, in any context, and Wayne's brand is difficult for me to get very excited about. I know others like it, and I'm not saying it's "bad" -- just that it isn't my cup of tea. As far as whether I traded it in or not - I think I did trade this one in, but again - all my stuff's in boxes, and I'm starting to forget what I have and what I don't have. ===== On a side note - when I packed up all my CD's (about 3,000 total, about 35% jazz, 45% classical, and 20% rock/pop/whatever), I did have the foresight to put all my Blue Note discs in boxes of their own, which I have already unpacked. One has to have something to survive on!!!

I either still own, or used to own "Forms and Sounds", and I know what you mean. (Most of my CD's are still packed in boxes, and I can't remember if I ended up trading this one in or not. I suspect I thought about it, but in the end - I probably kept it.) Tough disc, even for those who are big fans of Ornette, or even those (like myself) who really are big fans of modern string-quartets and/or wind quintets!! I can get off on some of the most difficult chamber music by even the 12-tone guys, like Schoenberg, Berg, Roger Sessions, or even Henze (who isn't strickly a 'serial' guy). But for some reason, I have never been able to get into Ornette's writing for strings all that much. I do mostly like "Skies of America", but I know it's cuz Ornette's actually playing some on it, and on alto specifically. I used to own the "Naked Lunch" soundtrack, and traded it back less than a year after I got it. Now I wish I had it (or so I thought), but then I happened to hear parts of it on some internet radio station, and it didn't do much for me - so I probably was right in trading it back in. I tend to lump Ornette's string writing in with guys like Morton Feldmen, who do next to nothing for me.

If by "slay this beast" you're asking whether you should close or delete this thread????..... Please don't. No reason to, from my perspective. I'm not asking to turn this into another bash BN thread, but I do feel it's important to mention how sad I was, skimming some of "Today's Topics" (from 2001), remembering the BNBB community. I really like it here, a whole lot!!! - but I still miss the old place too.

I'd have to give a listen to specifically react to what your talking about. But, from my memory, I do agree that there is some degree of similarity (or, perhaps, "sameness") to Herbie's comping on his more unstructured stuff from the mid 60's (including his sideman dates). And, I seem to remember the same kind of "sound" on some of Herbie's comping on a bunch of live 1967 recordings of Miles' 2nd quintet -- some of which had a similar kind of unstructureness to it at times (although, (IMHO) in a more refined way (meaning "less free") than the Miles "Plugged Nickel" material from late 1965). (Too wordy, damn it. Try again...) I guess what my brain remembers my ears hearing is Herbie banging an ambiguous chord (one that doesn't suggest a root, or key-center), in a rhythmic sort of way -- almost using the piano more as a percussion instrument, rather than implying static harmony, or (to an even lesser extent) trying to suggest any sort of harmonic movement. (FYI, I'm also not a jazz musician, so all that above is totally flying by the seat of my pants. Somebody please tell me if anything I just said makes any sense!! ) In short, Big Al, I think I do know what you're talking about, although (if I'm remembering right, and thinking of the same stuff you're specifically talking about), I really like this kind of "functionless" comping, actually. I've heard it in other contexts, from other pianists, and if done tastefully - (IMHO) I think it builds tension for the listener, although in a much less obvious way than more "audience-friendly" tension-building effects (like you find in more traditional 'hard-bop', for instance.) Great topic, thanks for bringing it up!!

B)

I don't have enough Clifford Jordan, I'm rapidly discovering. My favorite of his (of what I've heard so far) is "Glass Bead Games", with Stanley Cowell/Cedar Walton, Sam Jones/Bill Lee, and Billy Higgins. It's on Strata East, and totally has that "Strata East" vibe thing goin' on. Two questions: 1. How is Jordan's "In the World"?? - also on Stata East, from 1969. I've never seen, nor even heard of this album (until tonight), but the line-up (according to AMG) is Don Cherry(!), Julian Priester, Wynton Kelly, Richard Davis and/or Wilbur Ware, and Albert "Tootie" Heath". Damn, Don Cherry, really!!??? What is this album like???? 2. How is Jordon on Andrew Hill's "Shades"?? - on Soul Note, from 1986. This is one of the few Hill CD's I don't yet own (only because I haven't found it for a reasonable price yet). I've heard nothing but good things about this one, so I obviously need to break down and get it, even if it has to be at full price. I really don't have very much Jordan, really, and welcome any suggestions you might have. Thanks!!

Thanks for the link to that article. It mentions... Anybody know what album this is??? About to see if I can find anything about it, on-line, now... I'll post any info I find, if I manage to answer my own question. Thanks!! ===== ===== PS: Never could find this on-line, but I did find these when I did a search on "Larry Young Tribute", from Google. Appears to be a live tape making the rounds. No idea if this is the same thing mentioned in the article.... Source: http://www.pattontrader.com/main.html

I was just looking at the AMG, to see if anyone else had ever covered any of the tunes from All Seeing Eye (not at all likely, I know), but I did find one curiosity - a various artists disc (the soundtrack to some broadway production?) that appears to have the Shorter tune Face of the Deep on it (and I'm assuming it's probably the same recording as on the original All Seeing Eye). The album was this... Link: Topdog/Underdog: Music From the Original Broadway ===== Back to my original search - does anyone know of any remakes of any of the tunes off All Seeing Eye. 99% chance there aren't any, but it never hurts to ask.

I often think that All Seeing Eye is my favorite Wayne Shorter album - something about it being a slightly larger group, with a three-horn front line - and how the tunes seem more organic, almost 'orchestral' in their building of tension and release. I will definitely give this one a spin this week, and will gladly report back my findings. ===== Damn, I just looked up the line-up (which I had kind of forgotten the details of), and I had totally forgotten that All Seeing Eye has a four-horn front line, not three: Hubbard, Moncur, and Spaulding - plus Wayne, and Herbie, Ron Carter, and Joe Chambers - shit, what a *GREAT* band. Great choice for album of the week!!!

Now THAT's a pretty damn obscure recording. Never heard of it before, and can't seem to find much about it on-line, although I am getting a few hits from some French websites, all in French (of course). This is a clear example of why we need a comprehensive Joe Henderson discography/sessionography. I have a hunch he's on a dozen or more dates that I've never even heard of. I find decent on-line sessionographies for all kinds of classic BN artists, all the time - sometimes multiple sites for the same artist. And yet, there's nothing even halfway decent covering Joe Henderson. ===== And while I'm on my soap box, I sure wish there was a complete sessionography for Charles Tolliver too. The one on Tolliver's own site is decent, but only lists album titles, not tunes or recording dates - let alone sidemen. Someday....

Thanks, brownie!!! - I'd always wondered about the cover for Into Somthin' - which is probably one of my all-time top-10 favorite BN covers. I'm a big architecture buff, and was kinda curious about that building, although I never expected to find out what it was, or rather, where it was (and I presume, still is - I hope). Like most, my first introduction to Larry Young was Unity, and then one of my very first TOCJ's was Into Somethin', which I got primarily because it included Sam Rivers. I missed out on the Mosaic, unfortunately, but did manage to find a darn reasonably priced one on eBay about 2 years ago - for only $120 (including shipping). Didn't include the booklet or box, but I'm 99% sure that the CD's and CD packaging are legit. I wish I had the booklet, but the music's much more important. (The guy listed it on eBay without the words "Blue Note" or "Mosaic" anywhere in the title, or the listing itself, so it didn't get on nearly any many people's radars - if they were searching for anything other than "Larry Young" specifically.) ===== I can't wait for Mother Ship, which Tom@BN said was probably on the October list for Conns. That, and the previously unreleased Andrew Hill big band sessions (with Woody Shaw!!!!) - and I'll be a happy guy!!!

Still down...

Mother Ship!!!

I think it's called "Friendly Fire", one of the few discs with Moran that I don't own (or at least not yet). Over time, I find I'm growing less and less fond of Lovano, for some reason - so I've put off getting this disc probably for that reason. Anyone else have "Friendly Fire", and if so, what do you think of it? ( I know I should get it, but I haven't found it used yet - and I think that's what it'd take for me to plunk down any kind of cash for it. )

Glad for any chance to hear some 'new' Joe Henderson!!! In fact, unless I'm forgetting something, isn't this the only "previously unreleased" Joe Henderson that's been released at any time since he passed away?? (Counting anything Joe's on, either as a leader, or as a sideman.)

Everyone, please be sure to specify whether you're talking about the primary "Procrastinator" session (with Wayne Shorter), or the extra session only found on the TOCJ (or original double-LP). The original poster seems to have been asking for reviews of the main "Procrastinator" session (meaning the one with Wayne), and it'd be good if we could clarify what we're talking about when giving feedback. ===== Main session (with Wayne Shorter, on the domestic CD) - I'd give it an A- letter grade, or an 9 on a 10 scale. Extra session (only on TOCJ or 2LP version) - I'd give it a solid B letter grade (although some days maybe a B+), or a 7 on a 10 scale, maybe 7.5 or even 8 some days.

I think that extra session (found only on the TOCJ, or on the original double-LP) is mighty fine, and I'd give it a solid "B+" if I was giving out letter grades. The three-horn front line really adds a lot to the session, and I think all the tunes (except one) are pretty strong. Do I think it's the very best Lee Morgan ever? Not quite - but I'd definitely rank it alone (the extra session, all by itself) as being in top-half of all the Lee Morgan sessions ever recorded (with Lee as the leader). Don't pay $75 for the TOCJ, but if you see it for anything less than $35 or even $40, it's well worth it (IMHO). It's a bitch to find, so if you do see it anywhere for a reasonable price - by all means get it. And, if you don't like it (meaning the extra session), you're sure to make back what you spent on it (plus $10 or $20 profit, at least) if you take it to eBay.

"Procrastinator" is one of my top-5 Lee Morgan discs, without a doubt. Maybe even in my top-3 (I'd have to think about it more, but long story short - it's way up near the top on my "Lee Mogan" best-of list.) Another reason I like it so much, is that we all know 1967 was a *killer* year (on record) for Wayne Shorter (although we know this mostly from his work with Miles) - both as a player, and especially as a composer (with all the tunes he wrote for "Sorcerer", "Neffertiti", and "Water Babies"). The album "Procrastinator" is the only progressive date (from all of Wayne's recorded output during 1967) with Wayne as a sideman, but without Miles. That fact alone makes it somewhat unique. Also, "Procrastinator" features two tunes written by Wayne, and not recorded elsewhere (at least not that I'm aware of). Anyway, regardless of all the statistical reasons for getting it, it's simply a damn fine date (IMHO), and well worth picking up - especially since it can be had for regular, domestic prices. Get it, and let us know what you think!!!

I think I have nearly everything Moran has released commercially (everything with him as the leader, everything with him on Osby's albums, and most of the rest of his sideman work), and I find Moran to be one of the most exciting jazz pianists today. He's also one of the nicest guys you'd ever want to meet. I've talked with him after shows about 4 times, and traded a handfull of e-mails with him. Without question, get everything with Moran as the leader, and also get Osby's last 4 or 5 releases (everything since and including "Zero", which I think came out in about 1998). They're all top-drawer, at least in my book. ===== Oh, if you go to Moran's website, there's about one hour's worth of MP3's, all recorded live about 2 years ago - with Moran's regular trio. And Osby's website has about six hours of MP3's, all recorded live since about 1997 or 1998 - and all but one hour is with Moran. All of it is outstanding, IMHO.

Neil Swainson: 49th Parallel I've seen this title (on CD) three times in the past week at Barns & Noble, as part of their "Concord - $3.99" sale. An excellent date, especially since it's got Joe and Woody Shaw!!!

I saw Project/Object here in Kansas City about 6 months ago, with Nappy Brock and Ike Willis. Well worth going to hear, especially since the tickets were only like $12, and the venue was like a mile from my house. Ike was real nice to talk to before the show, as was Brock. It's clear they really love Zappa's music, and they seem to get quite a lot out of keeping his music alive, so to speak. I'm sure they (Project/Object) has a web-site, with tour dates and such... Gosh, golly - how easy is that: http://www.projectobject.com/ And here's the dates for their spring tour... 3/06 Northampton, MA Iron Horse 3/07 Trenton, NJ The Conduit 3/08 Falls Church, VA State Theatre 3/09 Pittsburgh, PA Club Cafe 3/10 Pittsburgh, PA Club Cafe 3/11 Ferndale, MI Magic Bag 3/12 Louisville, KY A1A 3/13 Bloomington, IN Bluebird Theater 3/14 Chicago, IL Martyr's 3/15 Chicago, IL Martyr's 3/17 St. Louis, MO Cicero's 3/19 Asheville, NC Stella Blue 3/20 Savannah, GA The Music Grill 3/21 Atlanta, GA Variety Theatre 3/22 Charlotte, NC Visulite Theatre 3/23 Carrboro, NC Cat's Cradle 3/28 Buffalo, NY Tralf Music Hall 3/29 Philadelphia, PA Trocadero Theatre 4/04 Cambridge, MA Middle-East Club (downstairs) 4/05 New York, NY B.B. King's Blues Club

Brad Mehldau covers an Elliott Smith tune on a promo-only CD - the same one where Mehldau does a solo-piano version of Radiohead's "Paranoid Android". I'll have to look up the particulars later, as I'm up way past my bedtime at the moment. ===== My vague memory tells me it's "Bottle Up And Explode", if that in fact even is an Elliott Smith tune. Off to ZZZZZZZZZZZzzzzzzzzzzz........

I checked, and I do have this album on vinyl (in great shape), but I gots no turntable to play it on. So, I'm leaning strongly towards settin' Peter up with my copy, for a minor trade of some sort. (I'm sure I wouldn't miss my copy, and it's not like I'd buy again today, if I ran across it in a store right now.*) ( In any case, Peter, it sounds like you'll soon have "Jewel..." from somebody here... ) *on LP that is. If it ever came out on CD, I'd be temped. Not for full ECM list-price, but if I saw it used on CD for $9 - hell yeah, I'd get it.

I can also highly reccomend this title. Super-excellent as a serious jazz/classical crossover album that really works, without a hint of "cheeze" factor. By all means, get this one if you're on the fence about it.