HutchFan

I was listening to Curtis Counce's Landslide last night -- and Counce was right-on-the-money when he named that record after Mr. Land. Hooray for Harold!

Coleman Hawkins & Pee Wee Russell - Jam Session in Swingville (Fantasy/Swingville) I love Pee Wee, but Coleman Hawkins takes the blue ribbon on this set. His front line makes the music special. Along with Hawk, you've got three more all-time heavyweights: Joe Newman, Jimmy Hamilton, and J.C. Higginbottom. Oh yeah.

Eddie Condon - The Classic Sessions 1928-1949 (JSP) Disc 1

I usually reach for Hermann Scherchen's recording with the Vienna SO when I want to hear the Scythian Suite. The performance is superb; however, the audio is less than ideal. (It's mono, from 1951.) Dorati's version has always been highly-regarded, but I've never heard it. It also has a reputation for unbelievable sonics.

Earlier today, I read Ken Dryden's review of this CD in The New York City Jazz Record, so I'm now giving it a test drive via Spotify. I'm really enjoying it so far. Andrea Brachfeld - If Not Now, When? (Jazzheads, 2018) Andrea Brachfeld (fl) with Bill O'Connell (p), Harvie S (b), and Jason Tiemann (d)

Misha Mengelberg & Han Bennink - Einepartietischtennis (FMP/ICP) Hilarious and wonderful. So good!

Prompted by the renewed talk on the Clare Fischer Discography thread:

I have the first Sanchez LP, simply titled Poncho. It's excellent. (Several of the tunes are available on YT, if you'd like to sample them.) I've been keeping an eye out for the second LP, Straight Ahead (Pa'lante). But it fetches silly prices from re-sellers, and I don't want it that much. If you're interested in more of Fischer's work in a Latin jazz vein, you should definitely check out Cal Tjader's Guarabe -- assuming you haven't already heard it: I think Guarabe is a wonderful record, one of Tjader's finest. It's just as good as -- maybe even better than -- Fischer's "Salsa Picante" recordings for MPS. (As ever, YMMV!) FYI: If you're looking to buy it in digital format, Guarabe has been reissued on a Fantasy CD called Here and There.

It's fun to read through this thread, which was started back in 2004. Here are some of my thoughts. I tend to run very hot or very cold with KJ. To this listener's ear, the good stuff can be INCREDIBLE, mind-blowingly good. On the other hand, many of his recordings don't do anything for me. If I were to pick a handful of my favorite KJ recordings, the list would include: Shades, Death and the Flower, Treasure Island, and The Survivor's Suite. (Obviously, I like the American Quartet best. How can you go wrong with Dewey, Haden, and Motian?!?!) I also LOVE Facing You. That said, I'm ambivalent about most of Jarrett's solo recordings. I don't think any of them are anywhere near as interesting as Facing You, although Koln Concert probably comes closest. I've never been able to find my way into the European Quartet (although, strangely, I love the same rhythm section's recordings with Bobo Stenson -- so my problem isn't with Garbarek). I suppose I like Belonging. But that's it. I just "like" it -- which is disappointing, given how much the American Quartet's recordings have electrified me. And I've had a similarly tough time enjoying the Standards Trio. I just can't get a foothold -- even though DeJohnette and Peacock are two of my favorite musicians. (I actually prefer Peacock's Tales of Another -- with the exact same line-up -- much more than any of the Standards Trio recordings that I've heard.) So there you go. One person's totally subjective take on KJ's discography. Make of it what you will!

Lee Konitz & Martial Solal - Duo: Live at the Berlin Jazz Days 1980 (MPS) One of the best of the many Konitz / Solal collaborations, imho. !!!

Thank you for sharing these links, Brad. I love this Roth quote from Remnick's essay, which seems to sum up something very central to Roth's writing: “'Everyone knows' is the invocation of the cliché and the beginning of the banalization of experience, and it’s the solemnity and the sense of authority that people have in voicing the cliché that’s so insufferable. What we know is that, in an unclichéd way, nobody knows anything. You can’t know anything. The things you know you don’t know. Intention? Motive? Consequence? Meaning? All that we don’t know is astonishing. Even more astonishing is what passes for knowing." This recurrent idea in Roth reminds me very much of Tolstoy.