king ubu

Heres' the WKCR set info: Bennie Wallace Trio WKCR Studio, New York City (USA) November 1977 Bennie Wallace - tenor sax Eddie Gomez - bass Eddie Moore - drums 1. Subconscious-Lee (Lee Konitz) 9:08 2. unknown (7:42) 3. Green and Yellow (Bennie Wallace) 8:43 4. Flamingo (Anderson-Grouya) 8:11 5. Subconsciuos-Lee (Konitz) [intro] > Blues Connotation (Ornette Coleman) 13:54 TT: 47:39 Fine one! If you find out the identity of the second tune, please let me know, Marty!

There was George Coleman's fine mid-size group, too... when was that, mid 80s, roughly? And here's another Bennie Wallace thread - no need to worry about me being a fan, I have plenty of Miles and Monk and Duke in my collection

Jim, I see your point regaring change being a challenge and a good one for any artist... but still, even though some change may go in the right direction for the artist, it may go also in a direction that makes his work less interesting, capturing, less special, less idiosyncratic, whatever... and hence not be so attractive to a particular segment of the public, any longer (and usually make him more attractive to another segment at the same time). Happens all of the time, no matter if with jazz musicians, painters, composers, film directors... I would never say change is bad - we'd never have gotten Trane's mature works if he hadn't evolved from when he was with Dizzy and then with Miles and Monk. But also I think we should be allowed to argue about the merits or lack thereof, of change. It's not all good for everybody, necessarily!

http://www.amazon.fr/gp/offer-listing/B000...6109&sr=8-1 I have several items, including this one, in my caiman queue but caiman sucks as badly as Concord by now, they *NEVER* deliver! I guess they actually live from money that people don't claim back...

Well, that's what zombies are - those that return from the dead... I checked mine though and it didn't try to bite me or anything...

Ok, I think I roughly get your point. A moment of confusion surrounded your Hawk/Pres example, as I'd usually put it different, but then in respect to the harmonic/melodic dimension (Pres "floating" easily and detached on top of the chords - horizontal, while Hawk does the vertical outplaying of each and every note that's ok within the given chord). Anyway, I think it makes sense to me what you're saying.

I agree 100% with this statement, despite the fact that I thoroughly enjoy his playing during this period. Some of my favorite drumming of Max's that doesn't seem to get discussed much is his work in JJ Johnson's combos on Columbia, which were compiled in the OOP Mosaic. Very inspired. The quartet date with J.J. and Flanagan? Indeed Max is terrific there - in a league of his own! Yep. There were a few dates with that quartet if I remember correctly. Those are probably my favorite recorded trombone quartet sessions that I've heard since getting into jazz, and Max had alot to do with that! I think the Mosaic has two full CDs from those date(s), but I don't have it at hand... will think of listening to these again as soon as possible!

Finished the Roach set this afternoon - great, those two albums on disc 7! (Also the quintet one on disc 5 with alternates on disc 6 is very, very good!)

Would your use of horizontal vs. vertical fit with Tony Williams' development (from a terrific unorthodox "horizontal" player to a mostly rather boring "vertically oriented" player)? Not sure I get this terminology...

I agree 100% with this statement, despite the fact that I thoroughly enjoy his playing during this period. Some of my favorite drumming of Max's that doesn't seem to get discussed much is his work in JJ Johnson's combos on Columbia, which were compiled in the OOP Mosaic. Very inspired. The quartet date with J.J. and Flanagan? Indeed Max is terrific there - in a league of his own!

revolutionary? I guess so... beyond simple questions of musical stylistics...

I think it all goes together somehow... He's a marcher, he's an intellectual, he was going an organized path all the way (dig how he structures his solos, how he stays in the form, how you can follow him through the changes even in some cases). (And I don't mean the intellectual part in a negative way, of course... just because there's often some kind of vague anti-intellectualism going on hereabouts... I'm not part of that!)

Alex von Schlippenbach looks like a European soap star these days. True... and often he plays the piano as cultivated as you'd expect from a soap star... But criticisms aside, I quite like Rava's quintet, but I don't have the ECM disc - rather plenty of live concert recordings. It's not essential music in any way, but it's a pleasure to listen to, highly enjoyable, with Rava in good voice and no need to show off, rather just enjoying himself playing with a fine young band (Bollani stands out, but often he's replaced by Pozza, another fine pianist... I guess Bollani is too big now himself). The quartet album on ECM with Rudd and "Duo en noir" would be my favourite Rava discs, but then I don't even have his other, most famous ECM album yet...

Another observation about the Turrentines/Priester edition of the Roach quintet: Max seems to loosen up quite a bit by that time. He's still *very* sharp (he always is!) but on some of the bluesier tunes tending in a bit of a "soul jazz" direction (such as the 5/4 groover "As Long As You're Living" or some of the material on the Tommy T Time album), he really lays out a fat groovy bottom that swings almost in the kind of way that Billy Wallace seems to have missed in Roach's playing, I guess...

oops - that would be Priester's featues on the album (the one with Abbey that is) "Moon Faced and Starry Eyed". Anyone has an idea why all these Roach Mercury albums are so darn short and still most contain so many tracks? I mean it's nice to have all these long solos by everyone on each and every track, but with such great bands as Max led during those years, it would have been nice to hear them stretching out some, now and then... also of course it would have been nice to have some more albums by the working bands... the live album from Newport is great (though a bit too exhausting as it's a burning speedy set), if that's an indicator for how the working groups did sound.

No! No! I don't want to love Buddy Rich!!!!! he he... love would be a bit of an exaggeration, indeed... but in the right context (Hell NO, not with Bird & Dizzy & Monk!!!) he can be quite... useful/fine/takeable (make your own choice) (such as the Lionel Hampton w/Peterson dates). Anyway, back on topic: enjoying the shit out of those albums with the Turrentine brothers and Julian Priester. Stanley Turrentine is so good at this early stage of his career! Tommy may not be the greatest technician and doesn't have stealth chops and all, but he's got a way of playing that I think is all his own. I played the "Quiet as it's kept" album, plus the other one (with Abbey Lincoln guesting on two tunes) from the Mosaic, then the Tommy T. Time album, and now getting close to the end of the Enja release from the band's Kaiserslautern 1960 concert - more great playing there! Then I'll end my Roach Mosaic trip with the Paris date on the last disc... and continue with Freedom Now Suite, of course! Oh, and let me put in a good word for Julian Priester! Definitely one of my favourite trombone players of any time and style - his sound is so beautiful (highlights being his features on "Quiet as it's kept", I'd say... but most of his solos on these albums are great)!

Yes, I'm looking forward to hearing Flores in this context! I mostly know him from the Bud Shank Quartet (four albums in the great Shank Pacific Mosaic). So two of those zombie Mosaics made their way to Zurich... I guess that's why everybody thinks we're rich, but God know I am so broke now

Just played the "Quiet As It's Kept" date again (Roach disc 6), as well as the next, instrumental-only, album with the Turrentine/Priester band -very nice! Now on with Tommy T's Time album and possibly the Enja live album and then tomorrow the last of the Mercury albums done in Paris - all nicely in chronological order - fascinating to hear Max's playing evolving over the years!

Yes, I enjoyed it a lot! Looking forward to the answers thread to know what all these things were! Great idea to have so many short tracks, even though there's the risk that some don't really grab the listener, torn out of their larger context (at least I thought maybe that was why I didn't like some of the tracks better).

Admiring the Herman Capitol that just arrived... no listening so far yet, though.

Yeah, here's hope he pulls through this! Edit: I just played parts of Cannonball's "Nippon Soul" on the way home from work - great playing by all, including Joe!

I see I'm not alone with this guess... Hope this won't be too embarassing for me, once the results are out... I shall probably know many of the musicians, though not necessarily many of the discs the tunes have been taken from.

another wild guess, this time on #25: Evan Parker & Joe McPhee?

If that's it, I have it and it's worth getting (CDBaby should have it)!

hm, a guess on #36: Fritz Pauer?