HutchFan

I bet that'll be interesting.

Today's entry on my blog, PLAYING FAVORITES.

Dexter for me too: LOVE the Louvin Bros.

Yup. And Dex in prime form too. Recorded in 1970. Maybe that's why they went with the "old" green label? EDIT: Dexter with Junior Mance At Montreux is also the subject of my post for today (Sunday, 01/19) on PLAYING FAVORITES.

Earland's Black Drops is the subject of today's post on my blog, PLAYING FAVORITES.

I can understand how you might not dig Electric Byrd, Jim. Reading your comments, what came to mind immediately is another BIG difference between Bitches Brew and Electric Byrd: Miles' solos are electrifying and Byrd's are not. ... Then again, it's not really a soloist's record; it's a texture record. (Or, like you say, a "mood" record.) I dig the album's wash of color, its Brazilianisms and arrangements. Airto and Duke P. And Mickey Roker sounds really good too. Didn't say anything about him in the post, and I should've. ... Not at all trying to convince. Just more chatting at the bar over our beers (metaphorically speaking).

THANK YOU, Rooster. I'm glad you're enjoying it. And your encouragement means a lot too. I'm enjoying the writing and the listening that's required to do the writing. Plus, I'm getting a chance to share some thoughts that have been rattling around in my head for a while. Getting ideas "out in the open" is always gratifying -- even if it's just through informal writing on a blog. (Or dialoguing here on the board.) As far as making a book goes... maybe some day. For now, though, I should just take it day by day, one bite at a time.

Norma Winstone & John Taylor - ... like song, like weather (Koch/Sunnyside) Masterful singing and accompaniment.

Earlier: Tito Puente & His Latin Jazz Ensemble - Sensación (Concord Picante) Now: Chico O'Farrill - Cuban Blues: The Chico O'Farrill Sessions (Verve)

That's very interesting, Allen. Didn't Betty Carter also famously rail against Ornette? You could probably say the same thing about some of her music too -- just like Moody in your anecdote. You can't always trust what an artist says. Far more important is what they create. For example, Miles said many, many ridiculous things. But it's hard to argue with what he made. Or at least that's how I try to think about it.

The first Mingus record I ever heard. Made me an instant fan of both Mingus and Booker Ervin. (Took me longer to hear the beauty in Eric Dolphy, but I eventually found my way in.) To this day, Antibes is my desert-island pick for Mingus. No love like a first love.

Today's entry on my Jazz-in-the-70s blog: Donald Byrd - Electric Byrd (1970) Wow! What an amazing alignment of circumstances for you guys, hearing all that great music so inexpensively, so early in your lives. I have a wonderful collection of music now. But I still can't help being "retroactively" jealous! Seriously!

Maybe. Just maybe!

Lee Morgan - Live at the Lighthouse (Blue Note, 1970)

Fascinating maps & images.

Prompted by some Woody Shaw talk elsewhere on the board:

Eddie Palmieri - Vortex (TropiJazz, 1996)

IMO, every single one of Woody's records in the 1970s was -- at a minimum -- very, very good. And many were much better than that. ... One of the most remarkable and consistent artists of the decade. Those two Moody Muses are outstanding, for sure. This Perception release -- from right around the same time -- is killer too.

Oh. You did. Whoops! As for which Woody Shaw I chose, you'll just have to wait and see.

Earlier this evening: Charles Tolliver's Music Inc. recordings from Slugs' Saloon are the subject of today's post on my blog, PLAYING FAVORITES.

That very well may have been the case, Ken. None of the (recorded) music that Woods made for the rest of his life was quite like the ERM stuff. Seems like he could've returned to something like it if he'd wanted to -- at least at some point. Larry, I wholeheartedly agree with you that Phil's soloing with Quincy's big band is terrific.