Milestones

My understanding is that Vitous dropped out of WR due to his supposed inability to play funk. And I imagine he found Zawinul to be a prick at times (maybe lots of times). Anyway, Vitous was much valued by the late Chick Corea, and I think we can safely say that Chick knew and hired outstanding bassists.

"Mysterious Traveler," title track of that album? But this is an earlier record.

I'm a bit surprised I didn't nail Smith/Frisell/Cyrille (though I did recognize Frisell), since I have that record. It's a good record, and I think I need to listen again.

I don't go back very much to the acoustic quartet records of the last two decades. There are good spots, but on the whole they don't enthrall me. I'm not sure why. I don't think it's Wayne himself. I have been reading on the thread about minimalism and how "present" Wayne is on some records/groups. But I sure do hear him in that quartet; it in an absolutely different thing from WR. I often like a minimalist approach. It characterizes some of our greatest figures, such as Miles and Monk. You hear it in Jim Hall and many others. Minimalism doesn't mean they are not the star, as all those that I named are consistently the main attraction--on their own records and even as sidemen.

That's a killer solo on "Apache." Need to know why Wayne is so great, just take a listen.

I personally still find it a little hard to assess his work in Weather Report. He has fine moments to be sure, though the group definitely comes across basicially as Zawinul's vision. Curiously, some of his high spots are on Zawinul tunes like "The Juggler" and "A Remark You Made."

It's hard to choose among Shorter's Blue Note albums. Lately I've been favoring Juju (a quartet session with Trane's rhythm section), and there always Speak No Evil. Schizophrenia, with a slightly bigger sound, is also quite fine. I also like some works on Blue Note from decades later: Manhattan Project and Power of Three with Petrucciani and Hall (although Wayne is not on all tracks of the latter).

Another legend has left us. R.I.P. to a man who was great for 60+ years...and in such multi-faceted settings. His legacy will live as long as this thing called jazz lives. Now spinning The Manhattan Project (technically a co-op, but in my view one of his greatest solo albums).

So that is Art Ensemble on the final track...I guessed well. Maybe I need to check them out further. And it would seem to be Sun Ra on #15. I have been iffy on Sun Ra, but there is some good work from the early days; I was checking out his stuff a few months back. I might have this track, but I can't place it. Love the inclusion of Dolphy. He continually goes up in my estimation. "Tenderly" is from Far Cry, an excellent album which features Booker Little on several tracks, plus Jaki Byard, Ron Carter, and Roy Haynes...now that's a band! By the way, I found this to be a highly enjoyable BFT.

1. I thought this was going to be a solo baritone piece, which is quite a rarity. The tune is “Lush Life.” Bluiett? Really can’t say who it is. 2. “A Child is Born.” Nice trumpet, but does not really sound like Thad. But now the subtle big band comes in, so this is starting to sound like Thad/Mel. I don’t think of Thad as playing this mellow. The arrangement is quite nice. 3. Sonny Rollins…no mistaking that. This is “How are Things in Glocca Mora,” with a wonderful lead-in by Donald Byrd. 4. Nice tenor solo in big band setting, but I’m not good at identifying this stuff unless it’s Basie or Ellington. 5. Is that “Lotus Blossom”? Something by Strayhorn. It sounds a bit like Joe Henderson in his whispery ballad mode, but not as distinctive as Joe. 6. “Where or When.” This is a lovely tune, and it’s either Ben Webster or someone indebted to him. 7. This must be Eric Dolphy, playing relatively conservatively. Like Coltrane, he knew and loved the standards and sometimes played them in accessible fashion. Of course, this is a bit different by being solo. I think it’s “Tenderly.” 8. “Over the Rainbow,” sounding a bit operatic. I briefly thought Johnny Hartman, but no…I don’t think so. 9. I’m still not much of a solo piano guy, other than Tyner and Weston. But this is nice relaxed piece. It runs pretty long and seems to be in a 1930’s style, but certainly much more recent. Jaki Byard? But I doubt it, since Jaki usually shifts tempos and styles a great deal. Then again? Interesting coda. 10. I knew this within seconds: Ornette and Charlie Haden playing “Mary Hartman, Mary Hartman.” An unlikely vehicle, but quite enjoyable. I hold the Soapsuds album in very high esteem; it should be regarded as essential Ornette. 11. This has to be Ron Miles with Bill Frisell and Brian Blade. I have some of these records and enjoy them, but I thought they would be more impressive. I do like this choice, though I can’t name it. 12. A long performance, dominated by bass and trumpet. A bit on the free side. Enjoyable enough, but I don’t recognize the artists. 13. That’s Miles or a serious imitator. The tune sounds familiar, but I can’t place it. The tenor sounds like Booker Ervin, so then it’s not Miles. This one has me baffled, as I would expect Booker to solo first. So he’s a sideman? Oh man, now that’s Grant Green on guitar. But I still don’t know the tune or album. 14. That’s some cool trumpet and organ. Lester Bowie seems like a decent guess. I have some of his work in this vein, but not this track. Maybe I’m mistaken about Bowie, but I think it must be him or someone quite similar—and who is similar? 15. Pepper Adams on baritone? Electric piano solo. Can’t make a guess here. 16. More baritone, or some kind of low instrument. I like that loping bass. I’m thinking of Art Ensemble of Chicago when they play in a more accessible mode, so that’s my very uncertain guess.

So is this being shown on Wes Montgomery's birthday?

Nothing is rougher on the ears than all of the vocals on these records.

Bitches Brew was my first jazz record, and Inner Mounting Flame was not far behind. Also, I became a huge fan of Tony (pre-fusion) right away. In those days Lifetime was just a rumor. I did wind up buying a two-record set (vinyl) that contained most of the first two records. It was tough to get into...and it still is now. I'm a bit McLaughlin fan, and this is way down the list when I want to listen to him--not that there aren't good moments. There is group chemistry, but the best thing is Tony's drumming.

I guess no one should be surprised that Jarrett sounds good playing with one hand. I think he should record again--perhaps in a duo or trio setting. I'm surprised he was not asked about doing a new recording...that is, an official one (the man probably records frequently in his home studio).

It surprising that they would show that.