randyhersom

It's on eMusic, though that's not the bargain it used to be.

Thoughts with Rufus, Martha, Anna, and Loudon (despite his failings as a family man). A great loss.

Trane didn't mean to take it with him. He left it for all of us.

Good recordings with Acoustic Piano, Electric Bass and Drums. Off the top of my head I can think of three: Mary Lou Williams - Zoning with Bob Cranshaw Steve Kuhn - Trance with Steve Swallow Brian Melvin - Standards Zone with Jaco Pastorius and Jon Davis The first two do feature other combinations on a few tracks. Any others? Oops, mods I decided Recommendations was better than Artists and somehow ended up here. Move if you like.

I like his playing on the Curtis Amy sessions reissued on Mosaic Select.

Monoceros is solo tenor, and I played Chicago Solo last night also. I definitely hear the trance aspect on both of his instruments. In Boustrophedon I do hear Parker accomodating the tradition in some of its finest moments. It's both noticeable and enjoyable that he's playing particularly "jazzy" at those moments but I definitely feel him stepping out of his usual bag to go there. True, the solo recordings are probably the purest expressions of his trance aspect. My wife did come by my den and ask what that squealing was during Monoceros. I'll admit he's not for everyone.

Evan Parker rarely fails to move me, and I'm listening to the beginnning of Monoceros for the first time right now and digging it. But Ayler isn't the right reference point, or even late Trane. Trane and Bird and the tradition were mined for technical innovation to support what is essentially a trance music concept. For jazz precedents try the percussive, repetitive side of Mal Waldron, or Horace Tapscott's The Dark Tree. Outside of jazz, the extended live Allman Brothers jams and the Grateful Dead are in the neighborhood. The classical minimalists like Reich and Riley are in the neighborhood too. If you want your Evan Parker on the jazzy side, there's some great moments in Boustrophedon and if you're looking for avant blowout, the Birmingham Concert is a good choice. But for me, maximizing the hypnotic appeal of Parker's sound world and getting Parker means starting with the pianoless (and laptopless) dates. Even if he's using the same technique as Ayler or Trane, he's doing it for quite a different reason and the results reflect that. His control of the horn is unmatched, he distills the ecstatic peaks of most saxophonists and repeats them until a groove happens and works slow variations on that groove over time.

I haven't heard Rotondi, but Jeremy Pelt is well worth checking out.

I had no clue so I had to google this. Jeez. You seem to have absorbed your Clementine and Allen Lowe.

Reported on the eMusic message board, referencing Nightwatcher's House of Rock blog. http://nightwatchershouseofrock.blogspot.com/

What pulled me in was a Verve Clifford Brown Jazz Master compilation where they put Clifford's What's New with strings right next to is collaboration with Helen on the same song. That's still my favorite Helen Merrill song but it has lots of company.

Let us know how the supply is holding up - No funds at present, but I'm hoping to get this before it goes away.

If McCoy Tyner's on piano and Sonny Stitt's on sax, who's leading the record date? Is there more than one answer?

I revisited George Crumb's Makrokosmos III for two pianos and two percussionists recently and still enjoy it. I have liked what I heard of Arvo Part also. And, out of left field, Luminessence by Keith Jarrett with Jan Garbarek as soloist (with string orchestra, no piano) has always been a favorite. None of the pieces on In The Light stuck with me nearly as much.

Just revisited the coupling of Symphony #2 and Violin Concerto by Peteris Vasks, quite nice. Also was surprised to find that works by Poulenc and Britten fit this category.

The David Murray led DIW dates are all available through eMusic.

Gorecki Third Symphony, for it's heart being unashamedly on its sleeve. I like the Second also for its swarming insect effects in the brass. Rautavaara Seventh Symphony - just beautiful, it really stood out on a long MP3 disc I made of modern stuff. Kalevi Aho several symphonies. I participated in a thread on the eMusic message boards which was joined by Robert from BIS and he communicated his enthusiasm for this composer very convincingly.

Great Paris Concert Blanton - Webster band Intimate Ellington (I admit it - totally for Moon Maiden)

I've always loved the effect that Mingus got on Red Norvo's Time and Tide, almost like bouncing the bow off the strings. Walt Dickerson always got the most out of a bass player, try God Bless the Child from To My Queen for some great George Tucker bowed bass. Lisle Atkinson's playing on Peace is stunning, but I can't remember if any of it is arco.

I got curious about this and discovered it has been released as part of a twofer on one CD called Move On Over.

Cool, glad you enjoyed.

The mention of Bootsie reminds me of Middy Middleton. He got to record with Odean Pope's Saxophone Choir, but what I remember him for was a live at WRTI performance of his gigging band with Michael Ray, Up From The Cellar, Down From The Attic. The distinctive, almost vocal tenor sound reminded me of Rahsaan and he and ray both absolutely smoked. Wonder if WRTI still has the tape? Another Philly music mystery. In the early eighties I saw Sumi Tonooka with a female vocalist at a bar on Race Street within a block or two of Broad that didn't usually have jazz. The vocalist was stunning with a wordless approach that could have easily fit in with McCoy Tyner's bands of the time. I'm pretty sure the singers first name was Rachelle or Regina and I have guessed that it was Rachelle Ferrell but I would love to know for sure. And, since Scrabble tournaments have been kind of a second home over the years, I'll plug Ted O'Reilly's hometown singer and pianist Fern Lindzon who has been playing Scrabble tourneys for well over a decade and jazz for longer than that. Her debut is on CDBaby and eMusic.

Hey, it worked for Jackie McLean ... No, wait it didn't work for Jackie McLean Hey, it worked for Sonny Criss ... No, wait it didn't work for Sonny Criss Hey, it worked for John Handy ... Once, but not twice. Pursuing the dollar directly often doesn't work. Pursuing the passion doesn't always work financially but sometimes it does. Sometime the two accidentally coincide.

Ron Carter played one, an upright acoustic instrument, on Piccolo, which I noted elsewhare is a hell of a Kenny Barron album. (The leader plays good too)

Lee Morgan (aka Last Session) and Lee Morgan Live at the Lighthouse are fabulous, desert island discs for me. Larry Young, Bobby Hutcherson and McCoy Tyner also did good work during this period.