Alexander Hawkins

Lesser Spotted Marsh Warbler Raymond Luxury-Yacht Lisa Raymond

Well you're most likely right in that, but it takes all kinds to make up the World Cup. Why have qualifying at all? Let's just make football's self-acclaimed royal nations make up the finals every year. And a freaking bore that would be - no Japan, no South Korea, no Cameroon. No me. And Hiddink got us there with just four months with a demorlaised team that had been absolutely slaughtered at the Confederations Cup. He's got another seven months now. The attitude of some you footy bluebloods bemuses me. Go the underdogs! No matter where they're from. And that includes, for me, the US. Very much so. ← I don't think the Aussies could claim to be underdogs against Uruguay. And, really, against: Croatia Poland Switzerland Ukraine Ecuador Paraguay Costa Rica Trinidad and Tobago United States Angola Ghana Ivory Coast Togo Tunisia Iran Japan Saudi Arabia, and South Korea, the Socceroos should fancy their chances, or betray a complete lack of ambition. ← Pace, I should add, in some cases the FIFA world rankings.

Well you're most likely right in that, but it takes all kinds to make up the World Cup. Why have qualifying at all? Let's just make football's self-acclaimed royal nations make up the finals every year. And a freaking bore that would be - no Japan, no South Korea, no Cameroon. No me. And Hiddink got us there with just four months with a demorlaised team that had been absolutely slaughtered at the Confederations Cup. He's got another seven months now. The attitude of some you footy bluebloods bemuses me. Go the underdogs! No matter where they're from. And that includes, for me, the US. Very much so. ← I don't think the Aussies could claim to be underdogs against Uruguay. And, really, against: Croatia Poland Switzerland Ukraine Ecuador Paraguay Costa Rica Trinidad and Tobago United States Angola Ghana Ivory Coast Togo Tunisia Iran Japan Saudi Arabia, and South Korea, the Socceroos should fancy their chances, or betray a complete lack of ambition.

Wayne Shorter Sean Long Keyshawn Johnson

OK - here for some initial thoughts...(And they are initial at the moment - damn if I know any themes or anything just yet..!) 1. I really liked this. Fairly standard hard bop fare, by and large, but very nicely played and arranged. The altoist has a really buoyant swing to him, and plays with attractive inflection. I want to say Cannonball, although I don't think it is. VERY familiar though. My thought process with the next solo went - 'weird trombone - valve trombone - french horn'. My knowledge being what it is, however, that doesn't help me! I don't think it was Julius Watkins. I quite liked it though. Trumpet - was it Art Farmer? Don't know the pianist, but liked his playing. Bass and drums horribly familiar - couldn't say who though. My guess? Well, I do have a track of an Oscar Pettiford group on a compilation somewhere which sounds very much like this...but then there's something in the back of my mind saying 'French' 2. Hmmm...not so keen on this. Interesting textures with the guitars though (I think guitars come to be a bit of a theme in this test, but not sure along which organising principle). Hispanic flavour from time to time. Two names come to mind, but to my shame I know so little about each that neither's more than a hunch: Maria Schneider and Carla Bley (sounds like a slightly sub-'Liberation Music Orchestra' thing occasionally...) 3. This is growing on me, and I'd like to pick it up. I don't recognise the player, but I'm fairly confident that it's someone I don't own anything significant by. I say this because I feel I could pick him with pretty good accuracy in the future. Interesting presentation of the tune. On first listen, I thought his soloing was fairly conventional compared to the head statement, but on subsequent listens, there's somehting satisfyingly off-kilter about the playing. Nice gospel-ly feel (and I mean that beyond the obvious IV-I cadences). He voices those cadences really nicely, too. The bass and drums - well, I don't know, but they swing hard. 4. Not really to my taste, although not to say I didn't enjoy it. Some rhythmically interesting things going on here. Sounds a bit like an updated Tristano 'Turkish Mambo' with that groove going on. I like moments of the guitar playing (particularly the Flamenco touches here and there), but they are spelled by far more generic playing...No guess, though! 5. I liked this too. I don't have any particular proclivities one way or t'other with 'strings' records, but here, I think they're particularly nicely arranged. Of their time, sure, but done nicely, and I like their tone a lot. The bari player I can't pick. Bizarrely (and I noted the observation at the time, so I'm not 'projecting' after the event!), on hearing the strings, my first thought was of the wonderful Harry Carney plus strings album. In the liners there, Carney's tone is brilliantly described as cavernous. The same emphatically does not apply here. The tone is much more Lester-Young derived. 6. Leaves me a bit cold. I don't dislike it - nice bass playing; like the voice, and the piano's pretty inoffensive. The singer has listened to her Nina Simone, and also, for some reason, reminded me of Earl Coleman...But it's a bit insubstantial I think. It perhaps would work better in the context of an album, where it would be more explicitly a 'miniature'. 7. It's got a groove. The 'bone player has impressive facility for sure, and a nice tone. I really like some of his ideas (the vocalisations etc.), but this doesn't do it for me...a bit of a 'throwaway' ditty for me, I'm afraid! It was a bit like a trombonist with chops playing fever too fast. Dunno who though! 8. Very proficient drummer. This track was almost the bastard son of tracks 2 and 4...And it left me feeling much the same way as track 7. Doesn't really have any architecture: it goes nowhere. 9. Satin Doll. The 4/4 is underlayed with a double time waltz feel. The pianist exploits the tensions/ambiguities of this quite nicely in places. I did feel, however, that his voicings were exceedingly generic, and his soloing wasn't particularly individual. I couldn't pick him in an ID parade...Nice playing by the rest of the rhythm section though. 10. After the first bars, I thought 'Clarinet Summit plus rhythm' or something like that...Jimmy Hamilton looms in this performance, although I couldn't say for sure if he appears. I think not, perhaps? Piano player towards the end made me cross. Swinging, but horribly unoriginal. The band was nice though - it swung for sure. 11. Stumped again here. Late Ellington informs this...I hear snippets of Gonsalves, although am almost certain it's not him. Nice tone on the trumpet. Nice use of the bow by the bassist. And the voicing is all attractive here. A nicely paced and structured performance. I like the way the drummer keeps those rimshots coming. It really keeps momentum, and prevents any of the saccharine which can attend ballad playing, especially in this feel. Nice. 12. Not for me. I'm bad like this, I confess, but that guitar sound was all I needed to think 'nooooooooooo!' to me. The bass melody I found corny almost beyond belief, and the strumming patterns of the accompaniment? Well, bass and guitar deserved each other on this track... The players show chops. The guitarist can run his scales for sure, but to my taste, it's form without substance. Actually, the chords here could, played differently, have a very attractive gospel quality, but this is smooth beyond my tolerances! 13. After the first couple of bars, I thought this was going to be an extrapolation of a phrase from 'Ride of the Valkyries' with a Louisiana 'strut' to it (nice drum intro, for sure). But it got smoother from here. I found the piano playing far too smooth and passionless for my tastes - and again, I felt like he was running scales a little. I would have thought almost a player who was classically trained. The bass and drums keep things moving nicely. Although I don't particularly go for it, a very proficient performance, and the groove doesn't quit. 14. Funny sound! Not unattractive, actually (sounds like it might have been recorded in a church?). Has an eastern European folk feel to the melody. It just seems a little directionless though...The piano player does play some ideas I really like from time to time though. I'd like to put him in a different context to hear him to full advantage, I think. I've no idea who it might be...Can I hazard a guess at maybe Paul Bley doing something strange? Don't know what to make of this track! From the slightly abrupt ending, I take it it's from a suite of some description? 15. Not for me. Guitar intro switched me off again Accordion/bandoneon (whatever this is) is a great instrument, but I feel that this usage is almost a little 'obvious'. I can imagine something like this track working very well if there were a little more obvious irony (or if it leaned a little more in the direction of something like the 'Very Very Circus'), but as, not something I'll be chasing up. 16. I quite like this. Difficult to know what to say...I can't pick the players, and it's fairly conventional. But, it works OK for me. Piano player I could take or leave. There's something a bit strange about the mood of this track. Don't know what, but it's spooky! Check out the weird ending... 17. Don't know. The tenor player sounds a lot like Lockjaw on occasion, but I'm not convinced. I like this! It swings a lot. Actually, as I listen...is it Lockjaw??? Does sound a LOT like him at times. Virtuoso sax section for sure. I would have liked a little more sweetness to the lead alto, but they play a great chorus. Nice arranging touch when the trombones make their entry. The drummer earns his money for sure here. It's interesting to hear the reserve with which the arranger uses the trumpets (although when they do appear, they're not too prominent in the mix as it is...) Good track. 18. Dexterity. I love this Bird tune (rhythm changes). Fantastic version by the Art Ensemble on 'Message to Our Folks'. 'Chicago' thoughts led me to think this would have been great with Braxton instead of whoever is playing bass clarinet. Or is that contrabass clarinet? I think maybe...It's a good track, but a little frustrating. I don't really feel that the soloist really digs in, nor does he seem to exploit the instrument to its full. Is this a guy who normally plays Bb clarinet 'proper'? I know one thing - from his tone, I'd probably hate him on tenor 19. YES! Nice piano intro. Very familiar - sure I'll think of the player later. Hank Jones and Carl Perkins are two names at the front of my mind, but I'm not sure it's either actually. Guitarist Not too sure. Tal Farlow? JJ on trombone? It's an attractive tune. Sounds like the guitarist's group...Can't pick the tenor player, but he's very very familiar, and for the first time on this test, it's a player I've got that awful feeling I'll be mortally embarassed I haven't nailed. Going to have to come back to him. 20. Enjoyable I suppose...Not very original piano playing. Hard to dislike, on the other hand (and that's not supposed to damn with faint praise to the extent it seems!) Very 'by the book' playing though...Some nice textures in the orchestral writing. Could this be an Oliver Nelson arrangement? I know it's not his usual, but there's something about it... Anyway, back for more later! Thanks very much for this test, Tjobbe. I didn't enjoy all of it, but I did have my horizons broadened by almost all of it. It's humbling to listen 'blindfolded', and to things I wouldn't usually put on, for which thank you! Edit: just to say that perhaps the very very final cadence on track 20 gives this away as Gil Evans? The rest of the arrangement suggests maybe not, but that ending...something about it!

New Releases Discuss new releases from various labels. 567 7363 Yesterday, 05:06 PM In: New Roscoe Mitchell By: jlhoots Offering and Looking For... Trade, sell, swap, recordings with fellow members. 1481 7654 Today, 06:00 AM In: Art Ensemble 1967/68 By: Johnny E Recommendations Suggest recordings to your fellow board (bored?) members... 1146 23174 Today, 04:50 PM In: Roscoe Mitchell recommendat... By: Chuck Nessa For sure there's much to deplore about the state of the contemporary music scene etc. etc. - so how nice to log on to the board to be faced with this run of active topics!

p.s. this might help as well!

This Dance is For Steve McCall is great. There's a fantastic version of Joseph Jarman's 'Ericka'. Some s(S)ound explorations as well (e.g. 'Uptown Strut', 'Ah'). Also, a nice version of 'The Far East Blues' from 'Snurdy...' It also gets extremely intense at times ('The Rodney King Affair', 'This Dance is for Steve McCall'). I actually bought this at the same time as 'The Flow of Things', and preferred it. I think it's more coherent as an album, and there is more variety (two linked statements, I'm sure!). IIRC, it consists of 3 versions of the title piece (perhaps a couple of live takes?), together with other (perhaps one of the pieces cued by playing cards?). Nonetheless, I do enjoy 'Flow...', and it continues to grow on me. I don't know any of the others as yet, although I intend to look out for what's said here!

Count me in as another fan of this album. I've been spending a lot of time with various Note Factory releases recently, and I love 'em all.

Uta Lemper Uma Thurman Oprah Winfrey ← Zez Confrey Puss in Boots Boots Mussoli

Great band! Art Themen is a player to check out, definitely. He's been one of the most interesting horn players in the country since the 60s, IMHO. And he's a brain surgeon by day, which is pretty cool.

I agree with some of what you say, and if he's not my favourite saxophonist, he's in the top two (a certain Mr. Parker of K.C. maybe by a short head )! I don't know if he necessarily got more creative as he went on. Thinking about the sheer flow of ideas in some of those Prestige/Contemporary/Blue Note recordings etc., it's pretty frightening. BTW, if you look towards the top right of your screen, there's a search function - if you plug in 'Sonny Rollins', you'll come up with a lot of (often fascinating) discussion!

Yeah - to endorse those two recommendations, by first two reactions here were Lonnie Smith's 'Live at the Club Mozambique' and Reuben Wilson's 'Love Bug'.

I don't know any Gerry Hemingway quintet stuff, and with the Braxton, I guess it depends on what Braxton we're talking about. But I honestly think that the only way a music 'lover' wouldn't be fascinated by this set wouldn't be fascinated by this set is if (s)he had a blanket distaste for anything even mildly avant-garde. Since you're into the Hemingway and Braxton, this clearly isn't the case, so go for it!

Haven't heard the Jarman/Moye/Pullen, but I'm very interested. Maybe I'll order it (one of these days). ← Do that! I had another listen today inspired by this thread, and it's great stuff.

Two I love - Air 'Air Mail' and Joseph Jarman/Don Moye/Don Pullen 'The Magic Triangle'.

This is incredible music. My first thought was to comment that Roscoe Mitchell is simply phenomenal throughout the set, but on reflection, to single anyone out would be arbitrary (but - is Tuthankamun one of the great recorded bass solos?). IMHO, everyone featured plays a blinder.

Nice pieces - thanks!

I listened to this album for the first time this week - I think my first 'virgin' AOTW, as it were. I have to say, I'm unfamiliar with any Prime Time, etc. But, my overriding impression of Ornette here was of someone trying to break out - he seems to me to be straining at the leash which is provided by these rhythms. He sounds a bit like he's in a box to me. I do enjoy the record: it's fun, it dances around, it rocks, it rolls, and all the rest of it. And yet, I really agree with Chuck's contention that it sounds restricted.

And a VERY fine bassist he is too IMHO!

As a couple have said, he works really quite frequently over on this side of the water. His usual drummer is a fantastic player, worth mentioning - Dave Wickens.

I've recently been enjoying the album with Don Moye and Aoki (with Frances Wong and Joel Brandon on a couple of tracks)

I like the Ra solo piano on LEO (Teatro La Fenice).

I'm a little biased because I was there, but have since listened to the BBC broadcast several times, but: the Braxton is phenomenal. Everyone in the UK who's into this stuff has been talking about it. The whole band plays an absolute blinder (Taylor Ho Bynum in particular!)

It's possible that he was NOT trying to hit him but rather to pitch him very close, to keep the ball inside(closer to the hitter) to prevent the hitter from extending his arms and getting a good swing on a pitch. With an inside pitch the pitcher hopes to jam the hitter and cause defensive swings that frequently result in pop-ups or groundballs. I believe you also questioned home field advantage and Larry Kart gave you a great answer but he did leave out one factor: in the ninth inning or in extra innings the home team has an advantage because they bat last. If the game is tied in the 9th inning or a later inning and the home team scores, the game is over. By contrast, if the visitors take a one run lead in the ninth or in extra innings, they still must get the home team out without allowing any runs. Last year, the Yankees were playing the Twins in NYC when the Twins scored three times in the 13th(?) inning. The Yankees got up in the bottom of the inning and got a grand slam and won the game. Had the game been in Minnesota, as soon as the Twins scored once in the 13th inning the game would have been over. ← Thanks for that - my next question (who batted first). The psychology really differs!