HutchFan

I have the JoeHen Milestone box, but if I ever came across a reasonably-priced, clean vinyl version of Multiple, I'd snatch it up in a heartbeat. Multiple Multiple.

Now spinning: Al Grey & Jimmy Forrest - O.D. (Out 'Dere) (Greyforrest Records, 1980) with Don Patterson on organ

Jimmy McGriff - Blues to the 'Bone (Milestone, 1988)

with Art Hillery (p, org), John Heard (b), and Roy McCurdy (d)

Yeah, but that's different -- because those are FOR SALE.

It all depends. Usually, I don't buy multiple versions of the same thing -- because I'd rather spend the money on stuff that isn't already in my collection. But with favorite artists or records, I sometimes make exceptions. OTOH, I often buy LPs or CDs to "upgrade" from MP3s. To me, that's a different thing, a different calculation.

James Moody - Comin' on Strong (Argo, 1964)

Dizzy Gillespie - Live at the Village Vanguard (Blue Note/Solid State, rec. 1967)

Next up: Sonny Rollins - Sunny Days Starry Nights (Milestone, 1984)

From where I'm sitting, three musicians come to mind immediately: Jimmy Rowles, Kenny Burrell, and George Mraz. BTW, totally agree on John Hicks. Along with Freeman & Sanders, you've also got the records Hicks made with David Murray. Still more outstanding sax support.

Now spinning: Such lovely stuff. McIntosh's arrangements are textured and orchestral -- sometimes they even rove into not-jazz territory. But that doesn't bother me one bit. As music qua music, Moody & McIntosh go together like wine & cheese.

Yes. It looks like Jimmy just arrived from a picnic. Very incongruous. Also, I don't think I'd ever noticed that big tear in the Vanguard's awning. Past time to get that fixed, guys. The Great Shrine to Jazz should not be that tatty.

More Frank Foster: Recorded in 1977; released in 2007

Cool interview. Thanks for sharing that.

That's wonderful news, Rooster! I'm sure you must be immensely relieved.

Dizzy Gillespie - Jazz in Paris: Cognac Blues (Gitanes Jazz)

More Frank Foster: Wonderful stuff.

Why? Because he was playing the changes instead of playing modally?

I think this whole topic that we've stumbled upon is a really interesting one. Do artists have an obligation to respond to the changing circumstances of culture and the art that's happening around them? When is it slavishly following fashion? And when is it beneficial growth, an extension of the art and artist? And what about situations when it's neither of these things? Since Coltrane's influence became SO far reaching -- and not just on saxophonists -- he's an excellent sort of "case study" to talk about these things. I don't really have any answers... but people often speak of Coltrane's influence overwhelming other artists. And I can think of examples of musicians who seem to disapppear into his style and never develop their own. OTOH, I can also think of artists who responded to Coltrane in ways -- that to my ears, at least -- don't sound "copy cat"-like or derivative; it's just influence. But different listeners have different reactions, no? For example, I very much enjoy later Harold Land and later Art Pepper. Other listeners prefer earlier work from these artists. And Trane's influence was so profound that we can speak about these artists' music as pre-Coltrane and post-Coltrane. But I'm sure that my reaction have more to do with my preferences and predilections than it does with the choices that these artists made in an abstract sense! So is there a way to generalize about these things? I suppose it has to be approached on a case-by-case basis. But even then, when we take a particular artist as an example, those of us here on the board are almost certain to NOT agree about artists' direction. And it's not even as simple as "old vs. new" or "conservative vs. progressive", etc. It's MUCH more complicated than that. I guess the only generalization that I could make is the artist is in the best position to make the decision about what's best for him or her. Like Thelonious said, "The most effective artists are the people who are most willing to be themselves" (or something to that effect; y'all know what I'm talking about). Maybe that's all anyone can say.

Prompted by some Frank Foster discussion elsewhere on the board: Frank Foster & The Loud Minority - Shiny Stockings (Denon, 1979)

Rab, I think a lot of people have overlooked Frank Foster, including me! -- until I "discovered" him while I was working on my 70s jazz project. If you're up for suggestions, my highly subjective list of Foster essentials would include: - Count Basie - April in Paris (with Foster's biggest hit, "Shiny Stockings") and Chairman of the Board - Frank Foster's Loud Minority Big Band - Well Water (Piadrum), which includes Foster's wonderful composition, "Simone" - Frank Foster's Living Color: Twelve Shades of Black - For All Intents and Purposes (Leo) - Mickey Tucker - Mister Mysterious (Muse) - Horace Parlan - Frank-ly Speaking (SteepleChase) - with Foster and Frank Strozier - Frank Foster & Frank Wess - Frankly Speaking (Concord) - Frank Foster - Leo Rising (Arabesque) Great enjoyment awaits you.

Wow. That surprises me, mjzee. Are you referring to these?!? If so, "forgettable" would be the last word I use to describe them. I love these records. Admittedly, I think Foster was/is always interesting, throughout his career. Just my 2 cents, of course. I like that ... and it makes complete sense because you can hear it, how Foster's sound evolved on record. He grew and changed but he was still distinctly himself. Yeah, I've come across it somewhere before too. ... Crow's book sounds like a likely candidate.

and

What a great record!