Late

Would like to hear this one day too.

Ahaaaa ...

Though it's all in French, fans of Horace Tapscott and John Carter/Bobby Bradford will want to check out this blog.

I think it's just a matter of time — and probably a lot of time, but fans of this type of music will spread the word. I like what Epistro says above about Flaherty's sense of compassion. I just don't hear it in Brötzmann, or at least very rarely, and after a while I begin to tire of his playing. Brötzmann's reputation is solidified and justified, there's no questioning that (at least in my mind), but sometimes I feel that he's over-recorded. Flaherty often seems more "careful" than Brötzmann, if that makes any sense — and I like that about him. We're not talking about a beautifully crafted chain of swinging eighth notes, of course, but Flaherty sometimes plays as if that much precision and care were part of the equation. My thoughts/claims aren't yet fully formed at this point, I have to admit. I'm still learning about this guy's music, but I'm OK with that ... .

Finally heard Flaherty with Colbourne. Impact. Just as good as The Hated Music. My enthusiam for Brötzmann has waned in direct proportion to my increasing appreciation for Flaherty. Miss this guy's saxophone playing and suffer.

Was going to make a post about Gilmore's solo on "Thoughts Under a Dark Blue Light," did a search first, and discovered I already had. A great solo. Check it out if you can.

Hey, since this is an April Fool's thread ... shouldn't it be: RVGs at $1.99 @ J&R That'd bring all the lurkers out of them woodwork.

True. I happened to have watched that particular episode with Rudresh Mahanthappa. Of course, back then we called him Rudi. (And Shelley Carroll was still in the 1 O'Clock.)

The video with David Sanborn is either from 1989 or 1990. I remember watching that episode in the TV room at Bruce Hall when it was aired. Magnificent Goldberg — I'd pick up a copy of G-Man. It's from 1986, and the title track alone is worth the purchase. It's a long, live performance (Rollins' solo on "G-Man," that is) that never once loses interest. Rollins at an absolute peak from this time.

Here's a different perspective: I've been to three Douglas concerts and met him once in person, and he wasn't smug at all. On the contrary, he was especially generous with his time, talking to younger musicians (some who had participated in a jazz camp up in Banff where Douglas was a faculty member) and remarking how smaller cities, namely the one I live in, have an active interest in creative improvised music. Having said that, not all Douglas albums work for me, and I would never want to hail Douglas as some kind of "savior" for jazz, though the jazz community at large (or maybe it's just critics) always seem to want to create one. I haven't heard Meaning and Mystery yet, but am still enjoying Keystone and Freak In. Any artist is going to come under fire in direct proportion to how much attention they receive. I also believe that, historically speaking, this "fire" is levelled by those who, proportionately, receive less attention.

No kidding. Florida is admittedly the stronger team, but I remember that call against Hairston. Maybe it's just because I'm a Duck fan, but it seemed insane to call the foul offensive. I can't stand Joke 'em Noah. Not because he's too self-congratulatory or anything ... But now maybe Oregon can have better recruiting options during the off-season, and if Taylor and Hairston come back (which I'd guess they will), and with Porter having more experience under his belt ...

And ... the track "Shameful Roger" — whew! Newman kills it, even though the tune's quite short, on that track. I imagine Mingus laughing his ass off while listening to that track. I think he would have loved that type of trumpet playing.

And to comment on what brownie said — yes. The sound on the Spanish RCA Joe Newman sessions is pretty mediocre. Very boxed in and lifeless (though not the music!). I imagine the Mosaic Select will deliver a vast sonic improvement.

Except that I doubt that Jordi Pujol - or whoever was taking care of the audio - was not working from the original tapes. Sound on most of the Spanish RCA CDs I have heard does not compare with the audio of the original RCAs by a very long shot! OK, that all makes sense. Bluerein, you put the words right into my mouth.

Check here. The second on the list (the 3-cd set) is an excellent starting place.

That cd omitted one title from the Bradford/Carter record AND there was a 2nd Bradford/Carter titled Self Determination Music on Flying Dutchman. That's good to know. Was Self Determination Music by the same quartet? Bruz Freeman and Tom Williamson are, in my book, the most unsung "rhythm" section in the entirety of music. Sorry to not be posting on topic. -_-

Al — you'll dig it. All of those RCA albums have come out through Fresh Sounds, but I'm sure the Select will have much better sound. All of the dates are in-the-groove Basie-inspired swing. The Newmans are my favorite of the lot, but each one has its highlight — especially when Al Cohn plays bass clarinet! Ether — I actually was serious. Mainly, I want to see John Carter's Flight for Four be re-reissued, and I'm thinking, at this stage, its only hope might be a Mosaic Select, coupled with Horace Tapscott's The Giant is Awakened and some other recordings (?) of this type. (I have the old RCA/Novus comp., and it could use some sonic updating.) Very doubtful, I know, but it's a thought.

Gene had perfect pitch.

I was thinking that same thing. Thankfully, Zeca isn't 1/17 as annoying as the writers for Dusty Groove. Their descriptions for albums, besides being wildly vague, consistently make me cringe. Dusty Groove = = too much seratonin. Me reading the Dusty Groove site = = refill the Prozac prescription.

Very nice — thanks for the heads-up. Let's hope that Mosaic continues to mine the RCA and Columbia vaults for LPs that have yet to see issue on compact disc. And — as the label is under the RCA umbrella — I still want to see a Flying Dutchman Select!

I don't have a RapidShare account, but some of those links at Loronix are from old (though apparently still active) .de links that RapidShare used before they went to .com — which at least explains why the screen looks different. Man, that's a lot of downloads. What, you didn't want to download the "Péle Sings" record?

Thanks for the major correction, Jim. You're right — way more than four (what was I thinking?), and it is indeed mind-boggling. I had two Nara Leão albums before I visited Loronix, and I just picked up O Canto Livre de Nara. A welcome addition, and warmly recommended to anyone who already knows (or doesn't know!) her work. There's also the rare Clare Fischer Plays Jobim Pacific Jazz album somewhere in the archives.

Keep scrolling down until, on the right-hand side, you see dates (e.g. "October 14"), and then click (essentially at random) on any date. Each week has around four availalbe downloads. The archives are huge!

Many thanks to JimR, once again. I'd forgotten about Loronix, even though I'd downloaded three albums from there about six months ago. Hey Noj — try the Joao do Vale album on Phillips. It's pretty good (if you like vocals). There's also a Billy Blanco record on Elenco there. Blanco is kind of like the Chet Baker (vocal-wise) of Brasilian music. Loronix is a wonderful embarrassment of riches. It's one of the few music blogs that really takes care of its archives and doesn't get into flame wars in its comments section. The guy runs a model blog: great attitude, great music, only out-of-print stuff, etc. I guess my "favorite" type of Brasilian music so far features vocals, though usually not vocal groups ... and strangely without saxophones! Elenco albums usually have great instrumental backings for their singers. Even the string sections sound hip. And I've noticed that bassoons are a common feature in orchestrations from around this time. Loronix also has Joyce's first album. That's next up! If, like me, you want to explore this music within the two decades mentioned above, take Jim's wise suggestion and explore this place. There's a huge amount of music to learn about. The host there also seems to have a generous and kind spirit. I hope he won't mind a (small) influx of O-members visiting suddenly.

I discovered Tony Scott's music only recently — in 1999, the same year I discovered Buddy DeFranco. That year was a clarinet-heavy year, and a very good one. Scott's music enriched, and continues to enrich, my days. I also really like his baritone saxophone playing.