Milestones

1) J.J. Johnson: “Barbados” from Dial J.J 5–a first-rate version of the Bird tune. Of course, just about anything by J.J. is first-rate. 2) I know this. Such a lovely tune from the 50’s…at least originally. Isn’t this a Gerry Mulligan piece? Great arrangement. That sounds a bit like Lee Konitz. Not hearing Mulligan himself. 3) “Milestones.” There have been many fine covers of this great piece by Miles. This is a superb piano trio version. I know The Great Jazz Trio did this, but it’s clearly not that group. Is it Billy Higgins on drums? These guys are connected and they’re burning through it. 4) “Where or When.” Nice tenor, channeling Ben Webster’s breathy tone. I’m thinking it’s someone else, but maybe it is Ben. It sounds like an older recording. 5) This sounds like Andrew Hill. It's a session that went unreleased for a long time. It has strings, but I believe it’s just a string quartet. Good session. I like Hill and the whole group, including strings. Ah, it’s “Poinsettia.” 6) Not sure about this one. Bobby Hutcherson sometimes had a sound like this in the 1960’s, but not sounding like any Hutcherson I have (which is most of the Blue Note output). I like it, though it seems a bit too simple in terms of the rhythm. 9) “Afro Blue” on guitar--I feel I should know this. Oh, it's John Scofield from the Roy Haynes record Love Letters. Nice performance. 10) “The Wedding” (Water from an Ancient Well) by Abdullah Ibrahim. One of the most beautiful pieces ever written by him—or anyone else! 14) Ellington for sure, but I can't name the piece. I may come back on the others. I really like your choices. I am finding considerable musical pleasure all through the BFT.

Are we on BFT 221 or 222? I'm responding to the latest I have heard, on September 1. 1) J.J. Johnson: “Barbados” from Dial J.J 5–a first-rate version of the Bird tune. Of course, just about anything by J.J. is first-rate. 2) I know this. Such a lovely tune from the 50’s…at least originally. Isn’t this a Gerry Mulligan piece? Great arrangement. That sounds a bit like Lee Konitz. Not hearing Mulligan himself. 3) “Milestones.” There have been many fine covers of this great piece by Miles. This is a superb piano trio version. I know The Great Jazz Trio did this, but it’s clearly not that group. Is it Billy Higgins on drums? These guys are connected and they’re burning through it. 4) “Where or When.” Nice tenor, channeling Ben Webster’s breathy tone. I’m thinking it’s someone else, but maybe it is Ben. It sounds like an older recording. 5) This sounds like Andrew Hill. That session that went unreleased for a long time. It has strings, but I believe it’s just a string quartet. Good session. I like Hill and the whole group, including strings. Ah, it’s “Poinsettia.” 6) Not sure about this one. Bobby Hutcherson sometimes had a sound like this in the 1960’s, but not sounding like any Hutcherson I have (which is most of the Blue Note output). I like it, though it seems a bit too simple in terms of the rhythm. 9) “Afro Blue” on guitar--I feel I should know this. Oh, it's John Scofield from the Roy Haynes record Love Letters. Nice performance. 10) “The Wedding” (Water from an Ancient Well) by Abdullah Ibrahim. One of the most beautiful pieces ever written by him—or anyone else! 14) Ellington for sure, but I can't name the piece. I may come back on the others. I really like your choices. I am finding considerable musical pleasure all through the BFT.

Actually, the Varner record is the only one here that's in my collection. It's a rather fine album.

R.I.P. I didn't think he was quite that young. I guess it's a good thing that he was out there and receiving recognition virtually as a youngster. I really liked some of his stuff, especially his work on the Martino album and McLaughlin's Coltrane tribute.

It took me a long time to find Blue Moses, even though it was supposedly Weston's bestselling record. Weston, to say the least, had mixed feelings--but I'm glad I have it. The title track is a good one (though not the best version), and I also like the closing "Marrakesh Blues." There are exciting solos from Hubbard, Washington, and Laws (all major figures on CTI).

I don't think I even knew that Creed Taylor founded Impulse, though he left after about a year. I've been looking through his bio, and to say the least he had a hand in some outstanding work by many of the greats. R.I.P.

When was this film made?

Conrad Herwig has done many albums based on single composers--doing it with the "latin side" method: Coltrane, Miles, Shorter, Silver. Maybe Hill and Mingus are on the horizon.

Nothing wrong with "projects." I'd say they often lead to complexity and depths. Jams can be fun, but they tend to be basic; and they are certainly hit-or-miss.

So is it fair to say that Monk is a less complex composer than Mingus? Actually, I think that is probably true.

Deserving of rediscovery, IMO.

As for Mingus, you can find his pieces covered by Pepper Adams, Steve Slagle, Paul Motian, Joe Lovano (at least "Duke Ellington's Sound of Love"), and others--not to mention Mingus Big Band and its variations.

Where do people place Andrew Hill as composer? I would place him up quite high, as I'm sure many others would. But it's curious that his pieces are rarely covered. Other than his very first release, I think all of his albums (with few exceptions) feature strictly his own compositions. The exceptions seem to come on some late solo piano records. Even the greatest composers such as Ellington, Monk, and Mingus did not feature such exclusive usage of their own compostions. Interesting!

I remember seeing this come out over two decades ago; I spotted it at Borders (remember Borders?). I didn't get it then. I have it now, as I have come to appreciate the players. I was already into Abercrombie decades ago, but the others were little known to me. But now I do know Patitucci and Erskine, and I'm coming to know Mintzer. The latter is a virile player with a sound like Brecker's. These guys are serious about the gig--they play very cohesively and they are fired up. All the tunes are originals, divided democratically. Mintzer and Abercrombie provide the most striking tunes, but the others are more than solid. I really slept on this one. Go get it to hear players who work the tradition, with much of that tradition being the richness of their own legacies as players and composers.

Fingerpainting: Music of Herbie Hancock is not bad: Christian McBride, Nicholas Payton, Mark Whitfield. It is rare to hear trumpet in such a small group with no drums. There's also Parker's Mood: McBride, Roy Hargrove, Stephen Scott.

A good one is Spirits in the Field: Arthur Blythe (alto), Bob Stewart (tuba), Cecil Brooks (drums). There's a track on Strange City (Herbie Nichols Project) that I really like: "Blue Shout." This has Ted Nash (tenor), Wycliffe Gordon (trombone), Matt Wilson (drums) News for Zulu: Zorrn (alto), George Lewis (trombone), Bill Frisell (guitar) Jimmy Giuffre is the master of this, especially the early trios: clarinet/reeds-guitar-bass & clarinet/reeds-trombone-bass.

As for drummers, Joe recorded and performed with many greats--most notably Elvin Jones, but also Tony Williams, Jack DeJohnette, and Al Foster.

I would definitely say that Smiley was better than Rose when doing interviews with musicians (of all sorts).

Wow, Scofield led looking pretty snazzy in suit and tie! I kind of doubt that Charlie Rose is a genuinely big jazz guy, but give him credit for interviewing Joe for 10 minutes. It's unfortunate that Charlie Rose and Tavis Smiley went down in disgrace. They were probably the only guys on TV who would interview a jazz player for 10 minutes and allow a performance more than 3 minutes long. Near as I can tell, those days are long gone.

There is much flexibility in matters of intonation and such in jazz, but I (on limited experience) hear Henry as someone sounding, at times, out of tune and struggling for command. The Jackie McLean comparisons are interesting, because I have enjoyed and been moved by virtually everything I've heard by Jackie--and that's a lot records and solos.

Welcome back. Hoping you will be as good as new!

I've turned on several people (most with no interest in jazz) to Benny Golson's "Gypsy Jingle-Jangle."

The Adderleys created some serious earworms!

Really there is so much jazz music that can appeal to just about everyone, either through lovely ballad performances, catchy melodies, or amazing grooves. Who would not like? "Someday My Prince Will Come"--Miles "Central Park West"--Trane "Ask Me Now"--Monk "Strange Meadowlark"--Brubeck How about Sonny performing a calypso? How about the insane catchiness of "Hottentot" (Scofield) or "Cross the Heartland" (Metheny)?

Shades of Pat Martino.