HutchFan

Billy Hart is a SUPERB musician and drummer!!! Here's a sampling of Jabali's work during the 1970s. ******************************************************************** Herbie Hancock - Mwandishi (Warner Brothers) Harold Land - A New Shade of Blue (Mainstream) Wayne Shorter - Odyssey of Iska (Blue Note) Buddy Terry - Pure Dynamite (Mainstream) Eddie Henderson - Realization (Capricorn) Bennie Maupin - The Jewel in the Lotus (ECM) Carlos Garnett - Black Love (Muse) Harold Vick - Don't Look Back (Strata-East) Buster Williams - Pinnacle (Muse) Charles Sullivan - Re-Entry (Why Not) Hal Galper - Reach Out (SteepleChase) Billy Hart - Enchance (A&M Horizon) Andy LaVerne Trio – Another World (SteepleChase) Mike Richmond - Dream Waves (Sonet) John McNeil Quartet - Embarkation (SteepleChase) Pepper Adams - Reflectory (Muse) Arnett Cobb - Arnett Cobb is Back (Progressive) Buck Hill - Scope (SteepleChase) Shirley Horn - A Lazy Afternoon (SteepleChase) Joanne Brackeen - Snooze aka Six-Ate (Choice) Stan Getz - The Master (Columbia) Pat Martino - Exit (Muse) Duke Jordan Trio - Change a Pace (SteepleChase) Jimmy Rowles - Grand Paws (Choice) Jim McNeely - The Plot Thickens (Gatemouth/Muse) Doug Raney & Jimmy Raney - Stolen Moments (SteepleChase) Billy Harper - Soran-Bushi, B.H. (Denon) Some other favorites: ***************************************************************** His (relatively) recent work with the Billy Hart Quartet [with Mark Turner, Ethan Iverson and Ben Street]: - Billy Hart Quartet (HighNote) - All Our Reasons (ECM) - One Is the Other (ECM) Plus his work with Quest [with Dave Liebman, Richie Beirach, and Ron McClure]: - Quest II (Storyville) - Of One Mind (CMP) - Redemption: Quest Live in Europe (HatOLOGY) - Re-Dial: Live in Hamburg (Outnote) - Circular Dreaming (Enja)

NP:

Love that photo, Chuck! 👍

Continuing with RVW. Next up, Symphony No. 3 ("A Pastoral Symphony") and Symphony No. 4, as performed by Vernon Handley and the Royal Liverpool PO:

Progressing to Vaughan Williams' Second Symphony, aka A London Symphony, as performed by Sir John Barbirolli and the Hallé: Magnificent.

Vaughan Williams: A Sea Symphony / Boult, LPO, et al Appropriate music for today, since I'm at the seaside.

Inspired by soulpope's Ike Quebec posts above:

NP -- Kenny Burrell's The Tender Gender:

Sorry, no insight on a reissue of the Cage pieces on Disc. But, for what it's worth, I think Masselos' second recording of Ives' First Sonata (for RCA) is even better than his first one (for Columbia).

Doh! I've always assumed that's why Harvie S dropped the Swartz. He just got tired of the misspellings.

Oh yeah. It's AMAZING! That recording -- more than any other -- unlocked all of Ives' piano music for me. Like somebody threw a switch and suddenly everything was illuminated, it all made sense. ... CRI put it out originally. Then New World reissued it, after they acquired CRI. Regardless, it's "required listening" for anyone wanting to fully make their way into Ives' music. I really do believe that Ives' music exists somewhere in the land between jazz and classical -- in its own unique, neither-one-nor-the-other place. ... It's not that different than Ellington's in that regard, a bit overlap in their very different but equally magnificent musical legacies. ... More on Ives and Duke: I love the fact that Ives and Ellington both HATED the idea of finishing compositions. The music always needed to be open ended. That's how the music stays alive. Never stopping, always dynamic. The process is the thing, not the product. A beautiful idea.

I doubt Ives ever heard Parker. I don't have any evidence. Just a hunch. Ives was conversant with jazz -- but from an earlier time, both ragtime and "early jazz." You can hear it in many of his compositions. Regarding "under the supervision of the composer" note: John Kirkpatrick, who made the famous first recording of the Ives' Second Piano Sonata, also worked closely with Ives. He tells stories of asking Ives questions about passages in the composition. How to interpret this? How to play that? Ives never would answer in a straightforward way. He might sit down and play it and afterwards remark, "That's how I do it. You play it your way." It frustrated Kirkpatrick, who was rooted in a more traditional "the composer's intentions are paramount" sort of understanding. Clearly, Ives expect the interpreter to bring their own insight, mojo, juice to his music. I think it's a sort of "jazz approach" to classical music. I'm going to give you the framework, but you've got to carry it forward from there, breathe the life into it. Of course, Ives' music isn't jazz. But that spirit is there. It's one of the (many!) things that makes Ives' music so special.

The man had BIG EARS! Love it!

Peter - I didn't realize that La Fiesta had been reissued on Venus. I may need to keep an eye out for that!

Yes! 👍

Outstanding. NP: One of my desert-island discs.

Your avatar realizes that I selected Capra Black earlier in my survey, right?!? Honestly, I don't think you can wrong with ANY of Max's records from the 70s -- the quartets, the duets with Braxton & Shepp, Lift Every Voice ... ALL of it. Even the Sonet LP with Diz is good fun. And it's a cryin' shame that most of it was released on relatively obscure European or Japanese labels. Max deserved much, much, MUCH more exposure.

Transcendent.

Incredible haul, Rab!!!

Weekly Recap - PLAYING FAVORITES: Reflections on Jazz in the 1970s Bud Shank, Bill Mays, Alan Broadbent – Crystal Comments (Concord, 1980) Fred Anderson – The Missing Link (Nessa, 1984) Dave Burrell – Windward Passages (hat Hut, 1980) Max Roach Quartet – Pictures in a Frame (Soul Note, 1979) Don Cherry, Dewey Redman, Charlie Haden, Ed Blackwell – Old and New Dreams (ECM, 1979) Jack Walrath – Demons in Pursuit (Gatemouth, 1979) Claude Williamson Trio – La Fiesta (Interplay/Discovery, 1979) Another solid batch, I think. My Max Roach choice may surprise some of you -- since I chose Pictures in a Frame, the first album with Odean Pope, rather than one of the records featuring Billy Harper. I love those records with Billy Harper. I just like Pictures in a Frame more. There's more variety composition-wise -- plus, there's a different balance in the quartet that appeals to me. I think Chattahoochee Red (Columbia, 1980), Max's next quartet record after Pictures in a Frame, is brilliant too. Neither of these records deserve their relative obscurity. I think they're the two best MRQ albums with Pope.

Jack Walrath - Demons in Pursuit (Gatemouth, 1979)