Late

I've been waiting for the Tyner for some time. It'll be nice to hear, one session after another. (I sold off my single sessions so long ago that some of the music will be like I'm hearing it for the first time!) The Herman, of which I've only heard part of, should be excellent as well. The track "23 Red" is fairly amazing.

Hey ... how come Norah's new album (to be released December 5th) is entitled Not Too Late? I mean, she came over once, we had some decaf, I played all my Cecil Taylor records ... I don't get it.

Financial matters aside, here's how I'd prioritize acquiring Bix: 1. The Mosaic 2. The JSP (there are enough instrumental-only takes to make the set more than worthwhile) 3. Retrieval 79040: Bix Beiderbecke with Jean Goldkette's Orchestra, 1924-1927 (excellent single disc) 4. The two Columbia discs (remastering involves some no-noising, but the sound is still OK) If you just want one disc, I'd say go for the first volume of the Columbia. I have the JSP and really like it — J.R.T. Davies did the remastering on that one. You're in for a huge treat either way!

I don't 'do' chesse, but otherwise, this sounds fantastic. Could you express mail some to El Salvador? Oh, and no butter in/on those croissants. I know, picky, picky. The recipe can be done without cheese — although, out here in crazy vegetarian land some of the tofu cheeses are fairly good — but I've never heard of a croissant made without butter! Bebop, you're vegan? Easy, or difficult to do in El Salvador?

To my knowledge (and I think this was commented on earlier), the Cox will be one disc, with everything fitting in. (Now watch, a guy risks sharing some information he gets in an e-mail from Cuscuna ... the information is somewhat premature ... and I'm banned. )

Right — my mistake. I was thinking "east" of Germany, and typed "East Germany." There is certainly a difference.

No word that I've heard. The only two that have been given the go-ahead (as far as I know) are Andrew Hill's Change (with Sam Rivers), and Kenny Cox's Introducing-Multidirection. I'll be getting both for sure. That leaves four more titles ...

No turkey. But a vegetarian Thanksgiving can be tasty! Here's a shepherd's pie that was pretty good last year. Serves about eight people: • Six croissants, sliced in half length-wise -- use for crust, bottom and top • Thinly sliced yam and squash (get the pre-peeled and cubed packages at Trader Joe's for convenience!) • mushroom gravy • sliced tempeh • dried cranberries • grated Romano cheese, some fontina cheese • grated carrot Top with remaining cheese. Bake at 400 degrees for about 40 minutes.

Make some room after your COL-trane (or COR-ea or COT-trell) section in your cd rack. It looks like the Kenny COX two-fer is a "definite" for the 2007 Connoisseur series — says The Source in Connecticut. This, of course, is still "unofficial" — at least until the bar codes come out. (Hopefully I won't be shamed by our leading Blue Note Insidemen on this board for posting this.)

Unfortunately, I'm going to take a raincheck on this one for now, and not put an order in. Not because it's not likely good — it seems very interesting — but because funds are not looking up right now. I allowed myself "one more" (yeah, we've all said that) for a period of time, and instead went with the (also East German) Focus Jazz: More Music from the Wewerka Vaults. Cheaper, and with a diversity of musicians from the same geographical area and time period. I'll still be interested to read a review if anyone here decides to pick it up. (Watch, the review will rave, and then I'll "have" to buy it. But it will have already gone out of print in Japan ... )

Tower currently has the new Wewerka compilation (Focus Jazz: 1966-1969), pictured above, for $3 less than The Bards. Here.

Has anyone picked this one up? It was apparently supposed to be a release on Atlantic, but never materialized at the time. Now Polystar Japan has released it. I'm interested, though the price is fairly steep (2415¥), and wanted to check in here first.

This is essentially a "Tadd Dameron" thread in general, so I thought I'd post here that I'm listening to Dameron's 1961 Blue Note recordings for the first time (thanks Al) — wow! Better than I anticipated. Hearing Sam Rivers in this context is just short of a revelation, and the recording is beautiful. I'm grateful that four tunes were reissued, but, man, what I wouldn't do to hear/see a fully formed session (with Reid Miles cover art). Nevertheless, I'm content to spin these sides with repeated enthusiasm. It bears saying again: Tadd Dameron is truly one of the great composers in jazz history.

Chas — the Pozar session strikes me as bearing a resemblance to some of Ornette's work from around 1961 (the Pozar was recorded in 1966). It has that open, free-but-not-too-free sound to it. It just made me think that it could have been recorded four or five years earlier for Atlantic — hypothetically, of course — and then lost in the infamous Atlantic warehouse fire that took with it unissued Ornette recordings from the period. Just my imagination roaming! Wig — Yes, but mostly in Japan. A couple years back (2001, 2002?), Denon Japan reissued a large amount of Savoy sessions in mini-LP. They broke them up into genres (bebop, "modern," etc.), and some of the rarer recordings being discussed here actually saw the light of day on compact disc. From memory, (some) of those were: • Paul Bley: Footloose! • Bill Barron: The Tenor Stylings of Bill Barron • Bill Barron: Modern Windows • Bill Barron: Hot Line! • Vincent Hill Trio • Valdo Williams: New Advanced Jazz • Paul Jeffrey: The Electrifying Sounds of • Charles Moffett: The Gift There were a ton more (esp. from the "bebop" genre), but that's what I remember right now (after one cup of coffee). They're worth buying on the spot. The sound is usually superb.

My listening is all over the map today. After Frank Wright, for some reason I put on Ziggy Elman's 1938-1939 disc from Chronological Classics. All I can say is — wow. Maybe it's because this is one of the few Classics discs that isn't bogged down with a ton of vocals, or maybe it's just my mood, but this is sounding to me right now like a GREAT disc. I try to be measured in my praise here, but I have to give this one three (out of two) thumbs-up. Elman isn't Harry James or Muggsy Spanier or Wingy Manone, but (damn) he can play. The arrangements and the band are tasty as well. Who knew that Frank Wright and Ziggy Elman would go so well together?

Holy fonk — listening to Solos & Duets, Vol.s 1&2 right now. This stuff isn't just intense, it's loud. Wright probably never had to use a microphone ... in his life. I've heard saxophonists play loud, but nothing like this. At times, it verges on bombast, but I think more often than not it avoids it. Overall: very cathartic. This album would probably also work as a natural pesticide, too. Play it, and all the ants/cockroaches will get the hell out. A guaranteed date-ender as well. (You never know, could be a good thing -- "Oh, let me play this album for you that I love ...") Thanks to certain places in the ephemeral blogus-voidus-goofusphere, one can hear a lot of The Wright Things these days, to which I say: .

Of the fifteen sessions, I've heard/have: • Archie Shepp/Bill Dixon • Paul Bley • Bill Barron • Contemporary Five/7-tette • Valdo Williams • Robert Pozar • Paul Jeffrey • Charles Moffett .. and would like to hear: • Jack Brokensha • Joseph Scianni • Vincent Hill • Marc Levin • Ed Curran • Marzette Watts • Doug Carn Some mini-reviews of those I've heard: 1. Shepp-Dixon — A board member here generously hooked me up with this one some time ago. (I promised a review, but never got around to it ... until now?) A very nice record, with Shepp really challenging himself melodically (something I don't think he always did later), and Dixon sounding a lot like Don Cherry. Highly recommended. 2. Paul Bley — One of my favorite Bley records. I think the Penguin Guide nails it when they say that, while Bill Evans was receiving all/most of the recognition during this period (circa 1962), Bley was actually recording much more interesting/challenging music. 3. Bill Barron — My least favorite Barron on Savoy. It's good for what it is, which is essentially a blowing date, but to my ears the rhythms often get bogged down with repetitiveness. Barron's earlier two Savoy sessions — which focus on his compositions, often in suite-like progression — are far superior. Others will of course disagree. 4. Contemporary Five / 7-tette Great record. If it's still available, and I think it is, grab it. Both sessions are winners, with highlights being the playing of Ken McIntyre and Howard Johnson on the Dixon side. 5. Valdo Williams — Couldn't get with this one. Williams is a good pianist, and it sounds like he'd come under the spell of Cecil Taylor to some extent on this recording, but he likes some of his licks way too much. As a result, they get repeated ... and repeated. Not a "bad" session, it just doesn't hold my interest. 6. Robert Pozar — Lots of interest on this one. Mike Zwerin on trombone and bass trumpet — yeah. As far as I know, Zwerin's coming from a bebop/cool vein (he played in Miles Davis's nonet), but he's thrown into an altogether different context here, and he prevails. Kathy Morris and Jimmy Garrison, on cello and bass, are strongly featured, sometimes in duet, as well. Pozar is content to stay in the background, while still adding some unexpected bombs. This recording could be one of the Atlantic sessions lost in the fire. 7. Paul Jeffrey — I like this one a lot, too. I wouldn't call it greasy, but rather modal with some pre-fusion touches. Electric instruments are used on this set — namely the Varitone — but it doesn't distract from the proceedings. Jimmy Owens is in great form. 8. Charles Moffett — Discussed in an AOTW. Not a "great" session, per se, but one I'm very fond of. It's more than worth owning; it's worth getting out and spinning with frequency. Even Moffett's singing, on one track, is charming

The recordings made for Savoy take an interesting turn right after the 1962 Bill Dixon-Archie Shepp session. Take a look at the below sessions. Which have you heard? Which sessions did Dixon produce? MG 12178 Archie Shepp-Bill Dixon Quartet Bill Dixon (tp) Archie Shepp (ts) Don Moore (b -1,2,4) Reggie Workman (b -3) Paul Cohen (d -1,2,4) Howard McRae (d -3) NYC, October, 1962 1. 63-114 Trio 2. 63-115 Quartet 3. 63-116 Peace 4. 63-117 Somewhere MG 12180 Jack Brokensha - And Then I Said Jack Brokensha (vib) Howard Lucas (p) Don Jordan (b) Art Mardigan (d) March 17, 1963 SJB63-093 March of the Siamese Children SJB63-094 Little Niles SJB63-096 And Then I Said SJB63-097 Johnny Guitar SJB63-099 When the Sun Comes Out SJB63-103 Engulfed Cathedral MG 12182 Paul Bley - Footloose! Paul Bley (p) Steve Swallow (b) Pete LaRoca (d) NYC, August 17, 1962 SPB6464 Floater SPB6465 When Will the Blues Leave SPB6467 Around Again same personnel September 12, 1963 SPB63-259 Syndrome SPB63-261 King Korn SPB63-264 Cousins SPB63-265 Vashkar SPB63-266 Turns MG 12183 Bill Barron - The Hot Line Bill Barron, Booker Ervin (ts) Kenny Barron (p) Larry Ridley (b) Andrew Cyrille (d) NYC, March 31, 1962 SBB6335 Bill's Boogie SBB6336 Groovin' SBB6337 Now's the Time SBB6338 A Cool One SBB6339 Jelly Roll SBB6340 Playhouse March SBB6342 Work Song MG 12184 Archie Shepp and the New York Contemporary Five/Bill Dixon 7-Tette Bill Dixon (tp) Ken McIntyre (as, ob) George Barrow (ts) Howard Johnson (bars, tuba) Hal Dodson, Dave Izenzon (b) Howard McRae (d) NYC, February 4, 1964 64-059 Winter Song 1964 64-060 The 12th December Ted Curson (tp -1,2) Don Cherry (tp -3) John Tchicai (as) Archie Shepp (ts) Ronnie Boykins (b) Sunny Murray (d) NYC, February 5, 1964 1. 64-061 Where Poppies Bloom 2. 64-062 Like a Blessed Baby Lamb 3. 64-063 Consequences MG 12185 Joseph Scianni - New Concepts Joseph Scianni (p) David Izenzon (b) March 18, 1965 Daniel's Den Junk Age A Monday Idea Little Pink Missile Man Running Soul Talk Memphis Ramble See Saw MG 12187 Vinson Hill Trio Vinson Hill (p) Ronnie Markowitz (b) John Lee (d) April 11, 1966 Night and Day Pokes Theme Indian Spiritual Bess Lavender's Theme Young and Foolish After Rubato Jazz MG 12188 Valdo Williams - New Advanced Jazz Valdo Williams (p) Reggie Johnson (b) Stu Martin (d) December 20, 1966 Desert Fox Bad Manners Move Faster The Conqueror MG 12189 Robert F. Pozar - Good Golly, Miss Nancy Mike Zwerin (tb, btp) Kathy Morris (cello) Jimmy Garrison (b) Robert Pozar (d) 1966 The Mechanical Answering Service of Chris and Martha White Robin Hood Renfield Keying in Your Bank Maia Good Golly, Miss Nancy MG 12190 Marc Levin - The Dragon Suite Jonas Gwanga (tb) Marc Levin (fl, brass) Calo Scott (cello) Cecil McBee (b) Frank Clayton (d) NYC, 1967 Morning Colors The Dragon and the Rainbow Form with the Modern Men The Rainbow Twilight Dance Meditation The Sea, The Fire, The Earth MG 12191 Ed Curran - Elysa Marc Levin (cor, flh, mel) Ed Curran (cl, as) Kiyoshi Tokunaga (b) Robert Pozar (d) NYC, 1967 Cire Why Mid Tempo Looking Back Duos Lady A Nicole Drac MG 12192 Paul Jeffrey's Electrifying Sounds Jimmy Owens (tp) Paul Jeffrey (el-sax) George Cables (p) Larry Ridley (b) Billy Hart (d) NYC, August 8, 1968 Made Minor Blue I Guess I'll Hang My Tears Out to Dry The Dreamer Ecclesiology Green Ivan A.V.G MG 12193 The Marzette Watts Ensemble George Turner (cor) Marty Cook (tb) Marzette Watts (ts) Frank Kipers (vln) Bobby Few (p) Joony Booth, Cevera Jeffers, Steve Tintweiss (b) Tom Berge, J.C. Moses (d) Amy Schaefer, Patty Waters (vo) NYC, 1968 October Song F.L.O.A.R.S.S. Medley Lonely Woman Joudpoo Marzette Watts (ts) Bill Dixon (p) unknown (b) unknown (d) same location, date Play It Straight MG 12194 Charles Moffett - The Gift Charles Moffett (tp, vib, d) Paul Jeffrey (ts, acl) Wilbur Ware (b) Codaryl Moffett, Dennis O'Tootle (d) NYC, 1969 Avant Garde Got Soul Too Adverb The Gift Blues Strikes Again Yelricks MG 12195 The Doug Carn Trio Doug Carn (org) Gary Starling (b) Albert Nicholson (d) NYC, 1969? Walk Right In Butter from the Duck My One and Only Love Motherless Child Free Blues Yna Yna Delight

For further comparison and contrast in regard to Jenkins' playing, try listening to Hank (the sextet session with Donald Byrd), where Jenkins responds fairly differently to the setting (with a tenor saxophonist and trumpet player in the front line). He plays well there, but Jackie seems to have inspired him more. Larry -- I hear what you mean about Jackie listening to Jenkins and thinking, "Oh yeah, let me try that!" Jackie is surely the more polished player, but I think Jenkins is thinking more on that date. I really like sessions where an "instinctual" (to use your term, which I agree with) player is forced — in a positive way — into really "thinking" through his improvisations. The results often push that player into new territories (for him/for her), which inevitably make for interesting solos. I can't get with Clarence Sharpe as much as I can get with Shafi Hadi.

Picked up the Los Jardineros comp on Yazoo yesterday. Wow — much better than I expected! Los Jardineros were a Puerto Rican "string ensemble" (often with clarinet), and these recordings come from 1929-1932. If you're thinking mariachi or some such, you're in for a surprise. Surprising, in fact, might be the best word for this set. Great sound, too, for such old music — which is practically the norm with Yazoo.

I'm listening to this right now (track: "Easy Listening"). One thing that strikes me right now is these two guys' take on intonation. Jackie of course has his own sweet & sour approach to playing "in tune," but Jenkins does too, which is something I don't think I've noticed before. Usually, Jenkins always sounds a little sharp to my ears, but here, more often than not, he's in tune — except when, in the middle of trading fours, he decides to get somewhat humorous and does some shrinky-dink messing (and I don't even know what I mean by that, exactly) with his embouchre. Cool stuff. (Larry -- did you see the National Book Awards finalists in poetry this year? Unusual, and refreshing, picks.)

WPCR 25153 - Tony Fruscella This one is finally being reissued in Japan again — 2310¥, 24-bit mini-LP, and in January (2007). Put it on your list! Great album.

I've always liked this session. One the surface, it seems like just "another" blowing session, but it's better crafted than that. Recommended for those who haven't yet heard it. Larry, you might want to pick up VICJ-41276 (Alto Madness) if you buy Japanese reissues on compact disc. Not only does this disc have the complete recording session (with "Bird Feathers"), but it's fairly cheap (1500¥), and, best of all, is in original MONO! A great-sounding reissue. I got my copy from Hiroshi.

I agree, too. The sound on this set is exceptional — very natural without having that beefed up compression feel to it. Ron, how did you end up talking to Tarantino? You didn't happen to ask him about any other (future) box sets did you?

There are only two RCA's: Strictly Powell and Swingin' with Bud. They were both reissued domestically in the late 90's, but now are sadly out-of-print. They were also reissued in Japan (around 2003, I think) in a BVCJ series (mini-LPs) — these versions sound amazing! (Hiroshi might still be able to get them. They were around 1700¥.)