Late

I was excited to see this. Then I was bummed that it didn't include my two favorite VSOP (Andex/Mode) sessions: Bill Holman's In A Jazz Orbit and Frank Rosolino's eponymous Mode album. Or at least not yet — or maybe I missed them, and they really are a part? I hope that campaign continues!

Nice photo. A maze indeed!

Good news, though that cover scan you posted is really small. I can barely see it.

The concert comes from this blog. There are six tracks for the Bley, and it looks like a combination of the shows that Niko posted. Make sure to grab the Coxhill when you visit that link. It's the poop.

Thanks, C.

Nope. Now that I listen to the set ... it's definitely alto. The notes I found were sketchy at best. Still, the music's pretty good. Too bad this (one-time?) group couldn't have gone into the studio just once while in Germany. Koller's great on this one.

Yeah, and Lasha on tenor? And bass (rather than alto) clarinet? (Still curious about Lasha's West Coast connection with Coltrane ... )

Not related to the music, but Russell's The Outer View had three covers. Anyone know which was the original? I always assumed it was the OJC cover, but it might be the one with Russell in front of F.L. Wright's famous building ... Anyone here like Trip to Prilaguri? Now there's a Soul Note side that no one seems to mention.

It's weird, but I think I bought this CD something like ... fourteen years ago? Can that be? I haven't listened to it in a long time, but remember liking it a lot when I first bought it. Thanks for the reminder — will spin tomorrow ... maybe before heading to the (not gym but) pool!

Thanks montg! That's exactly what I was looking for. In the booklet, the cover art is right on a crease. I just wanted to back up the session in my iTunes folder, and it's always nice to find the original cover art to accompany the music. I found the other two covers on eBay — the Edison/Clayton was signed by Sweets!

Just listened to In Pursuit of the 27th Man for the very first time this afternoon. Nice. I think Michael Brecker's my favorite part of the album (after one listen, that is). Then I realized he's gone ... . I hope Horace is doing well these days.

Those men look exceptionally calm for being on fire.

Now you have to make your avatar have an even bigger smile.

I guess I don't want to have to defend Flaherty in this thread, but I'll try to make my own position a little clearer. I was impressed with The Hated Music, felt like gushing a bit, and also wanted to share my enthusiasm. If that's romanticizing, I'll take it. I'd rather be a little on the romantic side than on the cynical (?) side, even if my enthusiasm diminishes some over time — which is bound to happen. Assif Tsahar, just like Flaherty, is surely not the next "great" tenor saxophonist to come along — whatever that could possibly be. Listeners' standards, particularly when it comes to this kind of improvised music, are bizarrely different. But Tsahar has made some good records. Check out his trio side with Peter Kowald and Rashied Ali. He gives it all he's got, even though he inevitably comes up short of Brötzmann (who do I admire) and Coltrane — the two tenors that, because of his company on the session, bear the most immediate comparison. It's weird that personality seems to bear a significance, often times commensurate with performance, on a listeners' response in this music.

I'm not so hot on the CIMP/Cadence production ethos either, but, as this thread is expanding some, let me briefly list some discs from the Vast Rusch Vortex that do deserve attention because of their musical value: • Herb Robertson: Falling In Flat Space (trumpet-bass-drums) CJR 1065 • Ken Simon: The Twilight of Time (tenor-bass-drums) CJR 1082 • Steve Swell: Atmospheels (trombone-bass-drums) CIMP 184 • Elliot Levin & Tyrone Hill: A Fine Intensity (tenor-trombone-bass-drums) CIMP 200 I have more Cadence/CIMP discs, but these stand out to me. If a person's into pianoless music with a freeish bent, these are worth looking into. I'd give them all 4 stars. Sound is what you'd expect, though the CJR's sound better overall.

You mean CIMP, no? And I'm assuming your "genius" call is sarcastic? jes tryin to figger out yr tk (Trying to write/type like that ... )

Thanks, Lon. I like "Under Paris Skies" too, so that was my inclination — but wanted to check with others in case there was a killer song that I just "had" to hear.

I want to understand this sentence, but unfortunately don't. Help! (It sounds either like John Ashberry or Clem, though the latter will hate me for making that comparison.)

Up for reevaluation. If Chu can receive the Mosaic treatment, surely Mr. Johnson can as well — some day? The French Classics disc of Johnson's 1944-1952 work is fairly amazing. One of my favorites from that vast label. Johnson has two Argo sessions on iTunes right now: French Cooking and Off the Wall. I thought I'd plunk down a simple $1.98 just to get a taste. What one track would you single out from each album as being the "best"?

Roy Haynes' Senyah.

I didn't check to see if Zeca already has this, but here is João Gilberto's Chega De Saudade. Edit: Oops. Jim already recommended it above, and it is on Loronix. (The link I provided is from a different site.) The album is, at any rate, very much worth downloading. I don't think it's too much of an exaggeration to say that it's the Kind of Blue of Brasilian music.

Open to joking too. Have a favorite nut? I'm addicted to cashews. That's why I can't buy them or have them around.

Then you better get the Gorme disc.

Just finished listening to Carnival Sketches. "Pretty" is a word that doesn't have a good ring to it, but this album is pretty in all the best ways. Why oh why weren't Shaw's other two Argo albums reissued on CD?! I'd like to hear them, but my vinyl days have ground to a halt.

They made at least two records with Eydie Gorme that were (in full, in part?) reissued on this compact disc: I actually really like this CD, even if it borders on a "cocktail" sound at times. Regardless, it's a lot of fun, is well-recorded, and is very much worth checking out if your ears don't have huge expectations. (Gorme sings in Spanish throughout, which is a plus for me.)