Rooster_Ties

Saw her playing some of this material at the Kennedy Center a couple years ago, and it was a delightful evening. Will have to order at some point.

Does the absence of Andrew Hill from this list infer he was a ‘star’ for Blue Note? Seriously, is the author of the piece inferring that Hill must have been a star, since Blue Note released so many albums and sessions by him? Never mind that 1/3rd of them sat in the can for one or more decades (or is it closer to 1/2 even? - my hunch is that it’s ~40%, if you include the BN Select material in the calculation). Or does he not even make this “also ran” list?

Thanks Bertrand! I’m definitely going to catch this one - my wife too, since she likes piano trios real well (she really dislikes saxophone, as you know - trumpet is hit-n-miss). Thanks again!

That might be one of the last 5-6 dates with (or by) T. Hino (specifically pre-1978), that I don’t yet have on CD. I’ve really gone crazy buying Hino titles over the last 4-5 years. I think I’ve got a little over 25 titles (maybe almost 30?), iirc. (That’s incl. sideman appearances). One more I’ll have to pick up soon-ish too.

What of Woody Shaw's post-1967 output would classify as being a 'stone classic'? Cuz if being 'widely known' is a requirement for consideration, I hesitate to even know what (if anything) might even qualify for consideration. Woody's not as obscure as Tina Brooks, but I fear he's a LOT closer to Tina, than he is Trane -- though perhaps not among those who've heard more than half-a-dozen Trane albums. Or Billy Harper, for that matter (who may not even be as well-known as Woody). Though with Billy, at least I feel like there's intrinsically 2 more obvious choices: 1) The 1973 Strata East version of "Capra Black" -- or else 2) the 1979 Soul Note version of "Priestess". But then again, finding anyone who knows Billy Harper or Woody Shaw these days, is like a needle in a haystack - sad to say.

Has anyone here read this book by guitarist John Klopotowski? - who was a student of Warne’s from 1982-87. A Jazz Life: Memoirs and studies drawn from experiences as a student of Warne Marsh, 1982-87 https://www.johnklopotowski.com/book On my phone as I’m also just discovering this extensive book “preview”... https://www.johnklopotowski.com/book-preview

Just stumbled on the "Tristano Robots" videos above on YouTube earlier today (not through this thread) -- way, way too funny!!

I had 90% of the Shaw Muse material on those godawful 32Jazz reissues, and I pre-ordered the Shaw Mosaic within 48 hours of being able to do so -- the very FIRST Mosaic I ever pre-ordered like that. Still, I think it's an absolute crime that an album like Shaw's Berliner Jazztage was never released here in the US on an individual CD (under its own title) - and therefore barely known by CD-buying listeners over the last 30-35 years. Also doesn't help that an album title like "Concert Ensemble at Berliner Jazztage" (or is it just "Berliner Jazztage"?) - doesn't exactly roll off the tongue either. In any case, that such a brilliant album is relegated to semi-obscurity is really an awful shame.

And many that did come out on CD can effectively only be found in those dreaded ‘32jazz’ releases - long after earlier more legit-looking earlier CD issues (if they were ever released pre-32jazz at all. It’s a crime that Woody Shaw’s Muse catalog suffered that way, and most of those titles became nearly impossible to readily find. Didn’t help that you had to decode which Woody Shaw titles corresponded to which retitled 33jazz 2-fers. Really a shame.

Surely something by Joe Henderson, but what? Album-wise, I'd argue for Power To The People (Milestone, 1969) as THE quintessential post-Trane (after July 17, 1967) Henderson leader-date. Or if we have to limit ourselves to individual tracks, then either "Black Narcissus" (arguably a standard?) -- and either "Power To The People" or maybe "Afro-Centric" -- all 3 from that same album. As essential as anything Joe recorded for Blue Note, imho. Just a touch of fusion, or at least electricity -- those are precisely the 3 tracks that Herbie plays electric piano on (he's on acoustic piano on the other 4 tracks). And Ron carter is on electric bass on "Power To The People" and "Afro-Centric" too - just those two tracks only.

Remind me — once Miles got on Columbia (and not pre-Columbia), is “Thisness” (circa June-July 1967) the only example of Miles backed by a piano trio specially in a studio situation, i.e. sans any other horns? I realize it’s just from a rehearsal (iirc), and from a mono reference tape at that. But that’s the only “other-horn”-less situation I can think of with Miles. (Live, of course there’s that Newport set from 1969, where Wayne was stuck in traffic - which I really love, btw.)

The infamous and searing 'Electric Guitar' version of "Kalahari" that I mentioned a couple posts above, is now on YouTube (wasn't before). Here 'tis! Does this ever smoke!!

Brand new copy at Dusty at the moment, for only $7.99. BTW, their verbiage (which is probably worth preserving here), reads thusly... A trippy little combo with a distinct post-Coltrane feel – stretching out here wonderfully, on a hip little session on a homegrown label! The group hail from the unlikely spot of Las Vegas – but they've got a deeply spiritual sound that rivals the best work on the coasts in the early 70s – a very searching, righteous sort of groove – crafted beautifully from the tenor sax lines of Rick Davis, and the sweet Fender Rhodes of Ron Feuer! The album's filled with long, exploratory tracks – tunes that are free, but never too much so – and the mixture of electric keys and tenor works nicely throughout – giving the album a really unique and unified feel that sets it apart from other small jazz sets of its type. All tunes are originals by the group – and titles include "Vibrations", "Starship", "Spirit Free", and "Isis Unveiled". CD features 3 bonus tracks too – "Horizon", "Starship (alt)", and "Dear Latin Friend". BTW, my take remains that 4 or 5 of the 8 tracks total (and the lengthiest ones) are really, really outstanding -- the 4 that I posted YouTube clips of upthread especially.

They should sign Billy Harper.

Lovely! Can’t wait to dig into this later, soon. Been about 10 years since I last read John Szwed’s book on Ra, and I can’t remember how detailed his coverage of Sonny’s ear(th)liest exploits were. Or rather, I’m sure Szwed did a deep dive (Szwed’s book on Miles uncovered more “new info” than I’d yet ever read in any/all of the other Miles books I’d read up to that point) — but I’m wondering if he came up with most of the same stuff as here in this article. BTW, I see there’s a new paperback edition of Szwed’s book that just came out this year, with a new preface. Has anyone read the new preface by any chance?

I have one I bought used back around 2001 (off eBay). But it’s just the CD’s, jewel boxes, inserts - but NO big box or booklet. Then I did pick up a slightly water-damaged booklet from a board member a few years later (but again no box). If you can’t come up with one in as nice a condition as you’re looking for, let me know, and I’d be glad to figure out a fair price. In fact, I’d be glad to have you pay Jim (a Big O board contribution) as my donation (your direct donation) towards the feeding and upkeep of this forum (and I’ll pay the entire cost of shipping out of my own pocket). Not precisely what you’re looking for, but it’d be all the music, and all the proceeds would be going NOT to me, but to the board. No hurry, feel free to keep your eyes out for more of what you’re looking for, my set isn’t going anywhere soon.

By my count, Harper is on two (2) other Mark Masters albums too - separate tributes to Porgy & Bess, and Steely Dan. That’d then be a total of four (4) Mark Masters dates with Billy... ...unless there’s a 5th one I’m not aware of. (The only one I’m missing of the four, is the Steely Dan tribute project.)

Amen! Keyed In with the same trio (sans Joe) from a year before is damn good too. I’d love to have both on CD (but I do at least have both on LP).

You can listen to individual tracks - the entire album if I'm seeing right - here... https://barneymcalljazz.bandcamp.com/album/widening-circles Seems to be sold out (on CD) from this source, but I'm sure liking what all I'm hearing from the first few tracks I listened to most of.

Not a typical Ellington tune, but I’ve always loved the impressionistic “Reflections in D” from his 1953 piano trio date. And to the best of my knowledge, Ellington never recorded it again (isn’t that right??). Bill Evans remade it in 1978, and the tune suits him very well indeed. And a live version by Evans in ‘78.

That, and quite a number of her key albums have never been on CD either.

Pandora is my radio now (other than copious amounts of NPR). My big thing now is to find epic non-jazz songs (or especially non-jazz) instrumentals — especially that cross over multiple stylistic boundaries, and/or that AREN’T really representative of most the rest of particular artist’s output. Then I’ll create a station with just that one song as the seed, and see what the hell Pandora can do with that - especially further sticking it on “discovery” mode, or “deep cuts”. Think Neil Young’s “Sample and Hold” with its futuristic vocoder vocals, or Curtis Mayfield’s harder-hitting “(Don't Worry) If There's a Hell Below, We're All Going to Go”. Basically it’s fun to try and get Pandora to serve up the weirdest and most obscure stuff I can get it to want to play based on its formulas (since they don’t let you get under the hood and actually check which of the 128 different boxes they have as “song attributes” - or however many it is). I started paying their $5/month fee about 6 months ago, for ad-free service. But maybe a little more importantly, you can repeat-play tunes, not only a song that just got done playing, but one earlier in your stream, from like 20-30 minutes ago. Tons of interesting Afropop and other crossover musics from the African continent, especially from the late 60’s and 70’s - but just as importantly, some modern stuff from the last 10-20 years, heavily influenced by that earlier hybrid-African/Western stuff. Pandora’s new “discovery” and “deep cuts” modes have really been a game-changer for me. I always liked Pandora, but the same stuff would come up over, and over, and over again on the stations listened to the most. For instance, a Gang Of Four station I set up ~3 years ago had gotten as stale (for me) as a classic rock FM station. But now Pandora is serving me up TONS of ‘new’ music (new to me) all the time. Sliced bread has met its match!!

I can’t remember the Ruppli BN discography (which I own) listing any extra material, but I’d pay good money for some decent Mothership outtakes - especially 25 minutes worth, like we finally got with Unity. I get why Unity is THE ubiquitous Larry Young leader-date, but it was Mothership that was maybe THE single most eye-opening Blue Note session I’d ever heard up until that point (when I finally scored a used Larry Young Mosaic around 2002 or so - maybe a year before the Big O board came into existence). Before Mothership (and this was before I’d heard any of the back half of John Patton’s BN output), I pretty much thought all organ dates sounded like Jimmy Smith records (give or take, but nothing any more radical than Jimmy Smith). Yeah, Unity was kinda different, but back then (barely 10 years out of college), I was still so engrossed in Joe Henderson and Woody Shaw, that I though most of Unity’s “difference” was because of them. Mothership was like half a dozen shots of vodka, that first few times I heard it. WTF is this??? And that’s Lee Morgan?? - W! T! F! Plus all those other later non-Unity (post-Unity) BN Young albums - those were crazy too. But Mothership especially, completely changed my entire viewpoint of what writing for a b3 context could be. Easily one of my 10 favorite Blue Note sessions ever. My favorite way of describing Mothership is that it’s like a cross between the feeling and overall effect of Complete Communion and Unity. Extraordinarily special, and unique. I know the language of Complete Communion and Mothership isn’t that similar, but they both hit me very much the same way. And now that I’m thinking of it, so does the Legendary Hasaan trio date with Max Roach. Different language, but it hits me the same way too.

I assume the discogs entry for the new Mode For Joe alternate is accurate (but I can try and check mine to be sure) - which says 9:29. https://www.discogs.com/Joe-Henderson-Mode-For-Joe/release/11227057 And it’s a dandy too!! A lot of it feels through-composed, and it’s nice to be able to compare the takes, and just see how different they are. The overall effect is very similar, but the takes are quite different, which was a joy to experience the first time I heard the new one.