Milestones

Not sure about that, but they have released some many, many years after they were recorded: Sleeper by Jarrett's European quartet, Hamburg '72 by Jarrett trio (Haden had recently passed), and Carta de Amor by Magico. For that matter, how many big-name ECM artists are deceased? The only ones that come to my mind now (besides Abercrombie) are Lester Bowie and Charlie Haden.

One wonders what may be in the vaults at ECM. Abercrombie did spend 4+ decades with the label. Maybe some live recordings. I was able to find a few live Abercrombie and Towner tracks on the Internet, and they sound even more sublime and wonderful than the studio recordings.

John Abercrombie and Keith Jarrett must be the two Americans with the longest and most impressive runs on ECM. I did read on the website that Jack DeJohnette is the most recorded musician on the label. I suppose so, but it's helped by his many appearances with Abercrombie and Jarrett.

The first Gateway is a classic. But just as good, I think, is Homecoming from the mid-1990s.

Sad news...something I did not expect, though I had heard he was not well. Just sad. He leaves behind an amazingly diverse and large body of work on ECM, most of which is in my collection. Great work as a sideman with Tyner, Lloyd, DeJohnette, Palmer, Copland, Dr. Lonnie Smith.

Few people seem interested in the fact that Jerry Lewis died two days ago. Everyone ought to see The Nutty Professor, The King of Comedy, and at least one Martin/Lewis film.

Let me check that out. Yes, indeed, and it's a fantastic performance! But it is a very lengthy track--about 20 minutes.

I find it curious and disappointing that he did not play flute on the Five Spot sessions.

And a good thing. I generally prefer Old and New Dreams over Ornette's Prime Time.

Can someone list all or some of Dolphy's pieces on which he plays flute. The man was an absolute genius on flute, and he did't record it often enough. I'm particularly interested in pieces from the Prestige recordings.

Happy birthday, indeed! Mr. DeJohnette has played with EVERYBODY, and he's produced an awful lot of great sets as leader and co-leader.

He made a very fine contribution to Getz's Billy Highstreet Samba. R.I.P.

There must be a lot more of these.

Of the records I've heard, I like Witchi-Tai-To the best. Jan does not seem very active of late, with only three records in this century--and the last in 2010.

Yes, get well soon.

I've been following this pairing lately, aided by the recent acquisition of a couple of early DeJohnette records--when Abercrombie was in the group. These are some fine records--especially New Rags--though they seem practically lost to history. There have, of course, been 4 Gateway records; I have all of them. Shouldn't Gateway convene at least once more, while everyone is still alive and active? The guitarist and drummer have met up at least a dozen times, thought it's been a while. The last I know of was on the John Surman record, Brewster's Rooster. I have two playlists (CD length) of the work of these two. I believe they bring out much adventure and creativity in each other. Your thoughts and recommendations.... j

Definitely a loss. I saw her once in concert with Charles Lloyd and she was fantastic. I really enjoy her work with Haden and Motian. R.I.P.

Jan Garbarek, anyone? I have to confess I don't know his work all that well. Sure, I have fair amount of stuff from Jarret's European Quartet, plus there is Magico with Haden and Gismonti and sideman releases like Deer Wan (Wheeler) and Solstice (Towner). But I have nothing under his own name. He has certainly been a major figure on ECM, and for that matter in jazz overall (especially European jazz). His sax sound is definitely different. Where do I start with his solo work?

"Homecoming", found originally on Hollands's Seeds of Time in mid-80s (with 3 horns), then about a decade later as title track of an album by Gateway Trio. Both are great, but I like the guitar version (Abercrombie) a bit better.

It looks like everyone is stumped at this point.

This is a musician whose output is way too low. I really love so much of his work, and I was fortunate to see him in concert once--doing Ellington material, similar to The African Flower but about 15 years later. He's had a very low profile for too long, and I guess he's been focused on sacred music. Is there a chance for a comeback, especially as a jazz player?

#10 might be Lee Morgan? It is certainly has the Blue Note sound written all over it, whether or not it is from that label.

#2 sounds Monk-like, but also sounds like a standard. I'm certain it is not Monk. Steve Lacy on soprano? #3 has to be a session led by a flute player. Bobby Jasper? Herbie Mann? I'm feeling this is going to be a tough blindfold test. #8--Oliver Lake on alto? James Spaulding? #9 is "Mighty Fine" by Joey Baron with Arthur Blythe, Bill Frisell, and Ron Carter.

#1--my guess would be Ellington from early 30's. If so (and I'm not confident), it's not one of his more memorable pieces.

I don't how anyone survives a heroin-enveloped environment. There's no disputing it was rampant in jazz during this period. Some didn't make it. A surprisingly large number did survive. Some had the wisdom to stay away.