Alexander Hawkins

The BBC is airing a show sometime (perhaps tonight?) in which they're going to venture a new theory...Don't know what, though - sorry!

Just got hold of Young at Heart/Wise in Time yesterday. It's the first Threadgill I've heard, and I think it's superb (the whole thing, not just him). I'm not so into the solo track yet, although it is pretty intriguing... Not important, really, but does Muhal play some synthesiser right at the beginning of the quintet track? There's a sound I can't quite pin down. And if I could ask another discographical question on Muhal - this time about Levels and Degrees of Light: who plays vibes on this? I don't think the name on the back of the CD and in the booklet tally in this respect (Gordon Emmanuel, I think, on the back; someone 'Cranshaw' in the booklet)...Won't lose sleep over it, of course, but just curious! Thanks for any help.

Some Blanton-Webster Ellington. Perhaps Koko, although if she's classically trained, why not Concerto for Cootie?

Looking forward to it. This was my first Griffin, and I really enjoy it.

Pinetop Smith

Red McKenzie

Did anyone mention Hamiet Bluiett yet?

ALLIGATOR BOOGALOO!!! MIDNIGHT CREEPER!!!

I dont't know the game that well, but I saw the fight, and thought the decision was pretty scandalous. I thought that US judges tended to favour the aggressor in a points decision? Anything but the other night.

And his daughter, Anya, is an incredibly powerful pianist - I'm not sure if she plays any of the Scriabins, but it wouldn't surprise me!

And Horowitz and Lipatti...

Interesting - thanks, Christiern!

Up, in case anyone can help! I've got the piece stuck in my head again!

I was actually just thinking, I wish I had my copy of On Impulse! here at college with me - I thought I remembered there being a TLW on it, but it's one I'm definitely going to go back to. I find that having enjoyed this period Rollins for a couple of years, only now am I beginning to go beyond 'enjoying' it and really being able to get 'inside' the music. I know what you mean about him 'delivering' even when he misses. I think it's almost like watching a sportsman whom you know to have sublime skill do the simple things, or even try something and get it wrong - the context of knowing what he CAN do makes you appreciate the discretion not to do something spectacular and the failed effort. I'm off for another crack at this album. I was wondering about those fade-outs too, Late - are they the result of a breakdown of the take? Or are they artistic (can it ever be artistic to stop Sonny?)? Or simply to do with time? They certainly are some of the most tantalising/frustrating fades I can think of off the top of my head...

I'm very tired just now, almost entirely due to staying up far too late last night in absolute wonder at the album of standards from the RCA box set. Does anyone like this? The solos are absolutely extraordinary - on 'Three Little Words' in particular, it struck me. But some really beautiful moments throughout the album. I really enjoy Herbie Hancock in this context as well, taking more of a 'back seat'.

I love Vol. 1 as well - How are Things in Glocca Morra is beautiful, I agree.

Thanks for all these comments! It's fascinating to read all these - just what I was hoping for! I agree about that Pathe release - I think 'People in Sorrow' is perhaps my favourite AEC work at present.

Sorry if there's a discussion about this elsewhere - the computer I'm on is so slow, I don't dare do a search! I don't remember seeing anything. I'm really getting into the AEC at the moment. The stuff I have is A Jackson in Your House Message to Our Folks Live in Paris Live (Mandel Hall) Les Staunces a Sophie People in Sorrow Baptizum Fanfare for the Warriors and Urban Bushmen. I'm just keen for a general discussion of all things AEC! I'll doubtless learn a lot, since I'm relatively new to all of this music, so I'd also love to hear recommendations for what else I might try. The more I listen to any of these albums, the more I hear. Little details, big 'structural' things, humour, fascinating sounds, etc. The group clearly had an absolutely rampant imagination! A couple of more specific things - I wonder what it was like to see them live (who knows, I may yet get the chance, but I mean really when Lester Bowie was around and before Joseph Jarman's absence)? And the vocabulary...Sure, I get the English and French stuff...But other spoken passages, and the names of the tunes, etc. Is this just verbal colour? Or some language? I'm thinking about words like 'Odwalla', etc. That last point is really just a curiosity. None of it detracts from my complete fascination with, and enjoyment of, the music. Just wondered what anyone else thinks!

Brad - no, I'm afraid I detest Liverpool as well (and Leeds, and Everton, but I don't have time for that conversation..!) I'm Chelsea myself. So a little dazed and confused after Mr. Abramovich's spending exploits in the Summer, but ultimately, I guess I can't complain! It's interesting. My initial reaction to your post was that Arsenal and Man U weren't really analogous to Boston - NY, but then I realised that in fact, I didn't really understand the Boston - NY rivalry. I'm not sure I agree that the really big rivalry for United is either Liverpool or Arsenal. I would say it's either Manchester City or Leeds... Anyway Brad, I'll have to keep my head down if you're an Arsenal man, since your boys turned us over a couple of weeks ago (and always do!)!!! Mind you, you pushed it a bit fine going to 9-8 on penalties with Rotherham in the Carling Cup last night! By the way, did you see that extraordinary bit of 'goalkeeping' from Lehmann in the European game last week! Crazy stuff!

As a football fanatic here in the UK, let me say that I depise both Manchester United and Arsenal with a deep passion. Sorry to take the thread off topic. One of those grievances which really has to be aired!

Oh yes, Clifford Brown! I also really enjoy that Harry Carney date which has been mentioned. And even though I don't enjoy all of the arrangements, Bird with strings is magical. To here him play 'Just Friends'...

I have a book of solo transcriptions - perhaps from a series called 'Jazz Masters'(?), although I honestly can't remember, because it's buried somewhere in another apartment! If it helps, there's also a Tatum and a Monk in the series (as weel as various non-pianists - Django, Charlie Christian, Bird, Miles, etc.) Off the top of my head, the tunes are (I'm afraid I can't remember which versions of): Hallucinations Celia I'll Keep Loving You Strictly Confidential Tempus Fugit, and A Night in Tunisia. I think the transcriptions are by a guy called Clifford Jay Safane, and are pretty good! I'll report back if I'm able to think of any more details, but in the meantime, will listen intently to other comments, because I'm on a BIG Bud kick as well (although I think I always am, actually..!) Hope this helps!

I love the Scriabin piano sonatas. The first time I layed my hands on a copy of one of them, it was the first sonata - on the first lp of a box of all of them - and I listened to them all, non-stop. I think they're a great introduction to Scriabin as a whole, since you can really appreciate his changing musical vocabulary (be sure to note, when you listen to them, the order in which they were written - off the top of my head, I don't think it was in the order they are traditionally numbered). I also prefer his earlier vocabulary through the medium of solo piano - the first symphony, for example, doesn't really do it for me. Personally, I prefer the later sonatas, I guess due to the really particular language Scriabin had found for himself by this stage, but apart from that, I couldn't really put my finger on why. As to the jazz point, it's easy to see why. Scriabin tended often to build harmonies out of stacking fourths, rather than the tradtional arpeggios of more conventional classical harmony. This sounds explicitly McCoy Tyner-esque! Even when this quartal harmony isn't at the forefront of things, he tends to use lots of upper extensions (9ths, 11ths, 13ths) in his writing, which are obvously found in a lot of jazz harmony. All that said, I think the main effect of Scriabin on a jazz musician wouldn't be technical, so much as impressionistic - just the incredible sounds and emotions he can conjure, regardless of how he did so! But apart from the piano music, everyone MUST experience the 1979 (I think) Svetlanov version of the Poem of Ecstasy' with the USSR Philharmonic. Oh my...

Definitely love Gilmore on 'Blowin' in from Chicago'! Ronnie Boykins is also on Rahsaan's 'Now Please Don't You Cry, Beautiful Edith', which I really enjoy.

I was lucky enough to play in a master class she gave at a school over here in the UK a few years back. Musically, it was nothing heavyweight (this is not a slur - simply that the class was to encourage pupils to do some singing themselves, so it was lots of 'call and response' over the blues, etc.), but she was an incredibly nice person, and, as Bev said, completely devoid of all pretension etc.