B. Clugston

Music is the Healing Force of the Universe and Last Album are no New Grass. I prefer Music is the Healing Force of the Universe over Last Album (I dig the intensity of the title track and “Masonic Inborn”), but I wish whichever conglomerate is holding on to tapes these days would release the complete session in one package. Mary Maria’s hippy dippy act wears thin by the time I get to Last Album (particularly “Again Comes The Risting Of The Sun”), but that album still has something to offer. Both albums point the way forward to the Fondation Maeght records are were clearly part of a progression, whereas New Grass was a sideshow. New Grass is awful. Listen to the much-better demos on Holy Ghost to see how this thing should have sounded, until the label got overly-involved. Poor Bill Folwell: his bass is funky in the demos, but someone turned him into a robot for the official release. Don’t even get me started on the Bert DeCoteaux factor. I find the New Grass demos are among the highlights of Holy Ghost. Love Cry is interesting, but odd. In the first half, Ayler dashes off a trio of old favourites in an almost radio-friendly manner, but does so with his most radical rhythm section ever (Alan Silva, Milford Graves).

That was a bizarre finish. Where does the CFL get its officials? The WWE?

I've had at least four. Not as bad as extensive bridge work. Two got infected, which was no fun.

Me too. People shouldn't be so surprised; its a very old shtick now.

Is that the one where he overdubs himself on S II Examples?

A very short sample of Davis' credits: Compulsion, Born To Run, Astral Weeks, Out To Lunch, Creative Construction Company, Color Me Barbra

Richard Davis did sub for Ron Carter on occasion with Miles Davis, including 1966 in Portland.

I was going to mention him. Like Cherry, he played with straight ahead and out players and has a few rawk credits, not to mention classical as well.

He does have some history with Blue Note. DeJohnette's earliest recordings were with Blue Note with Jackie McLean.

Sounds like you should beat him up.

I ain't Chuck, but to me "Chant" is the highlight of the set.

Came across this in a record store the other day and picked it up. It's a really nice set. Can't believe it isn't more well-known nor available.

It's worth hearing. Not sure if it's worth buying.

Lumi is good, but I like Ode to the Death of Jazz even better. He also did an interesting album featuring his band backing a recitation of "Kullervo" from the Kalevala on his own label.

That is correct. Forgot to mention that. And it's a memorable first appearance.

Lou has always been opinionated. I've always wondered what he thought about Braxton's 40B being dedicated to him.

Big thumb's up for The Moment's Energy on ECM. It's another Electro-Acoustic Ensemble recording, this time adding Ned Rothenberg and sho player Ko Ishikawa to the mix.

I stumbled upon Bud's while wandering around Pioneer Square during a visit to Seattle a couple of years ago and spent an enjoyable couple of hours among the vinyl. Bud (if that was who was behind the counter) seemed kind of ornery until he saw my selections - he warmed up then. I went back this past winter - finding it shuttered was a blow. My godchild (insert George Wallington melody here) now lives in Seattle, so I'll be visiting frequently, and I'll check out Wall of Sound. Bud sold the store in 2001, but retained an interest in it. It was a great place. I managed one last visit last year and bought a Lucky Thompson CD and heard a story about how Lucky turned up one day at Bud's.

Ordered this today. Sounds good. http://www.numerogroup.com/catalog_detail.php?uid=01049# Light: On The South Side $60.00 (BOOK+2LP) Between 1975-1977 Chicago's South Side night clubs were a little lighter. Not just because of a lanky white guy skulking about, but rather because of the camera and strobe light he carried. Michael Abramson hit Perv's House, Pepper's Hideout, The High Chaparral, The Patio Lounge, and The Showcase Lounge, not to capture the artists on stage, instead popping off a half dozen rolls every night on the crowd. Light: On The South Side gathers for the first time over 100 of these images, as Numero shines its own strobe on yet another dark corner of the past. The 132-page hard back book features photos, an ephemera section, and an essay by Nick Hornby. Housed in a gorgeous slipcase with the 12X12 book is Pepper's Jukebox, a seventeen track compilation of the kind of funky Chicago blues heard from the stage and the Wurlitizer. The deluxe 2LP set is packaged in a sharp gatefold jacket with two inner sleeves crammed to the gills with label scans and stories. All in all, it's the classiest Numero record ever made, spotted easily from across the room with it's near 2" spine.

Very, very good point here, Chuck. David Baker too... Thanks for mentioning Baker. Always enjoyed his playing. Al Kiger too.

Great label. The two Cult Cargo releases feature some great, funky music from Grand Bahamas and Belize, respectively and are highly recommended.

I only have the old muddy 2 CD Japanese version to compare to. He Loved Him Madly, in particular, and Calypso Frelimo sound better on the box set, but it's not a drastic improvement. Calypso Frelimo has always sounded partially submerged and I don't think any amount of remastering can fix that.

They did exist. I remember once seeing a reel to reel of one of Jimmy Giuffre's Verve records. Seem to recall they were still around in the 1970s though I never saw any in stores.

RIP. At the Five Spot is my favourite George Russell album.

To answer my own question, get the 2-CD. I got the one CD. Although it sounds great (unless you are Hoffman forum member), it doesn't have all the restored versions of the songs featuring Gram Parsons' lead vocals.