Late

This seemed like a good thread to bump up to discuss Hill's work between his Blue Note periods — 1971-1988, I think. From this time frame, what albums do you revisit the most? The East Winds? The Steeplechases? The Soul Notes? Other?

The Cry! is just as strong to my ears as Firebirds. The latter adds the density of Bobby Hutcherson's vibes, and the former (without vibes) has a somewhat stronger focus on the horn soloists. Simmons' feature on "Bojangles" is the highlight of the album for me. Great playing. Around this time, Simmons gigged briefly with Charles Mingus, and his improvising on "Bojangles" seems at times Mingus-esque to me. The album's also beautifully recorded, with Gary Peacock's bass especially prominent in the mix. A big .

Congratulations, David! ... from the above link ~ "Linehan Press is pleased to announce the upcoming publication of Passing Through by acclaimed poet David Gitin. This book, a collection spanning thirty years, is Gitin's eighth book of poetry. Passing Through is Gitin's first book in sixteen years, representing his largest collection since 1979. It includes six poems never published in book form in addition to revisions of earlier work. David Gitin, born in Buffalo, New York, was influenced by the work and friendship of Allen Ginsberg, Charles Olson, and Robert Creeley before moving to San Francisco in the mid-60s where he co-founded Poets Theater, edited Bricoleur, produced radio programs for KPFA in Berkeley, and associated with many of the Beat poets and legendary musicians of the time. Then in 1974, after living in the rural town of Cotati, California, and Madison, Wisconsin, he settled in Monterey, California, to teach Creative Writing at Monterey Peninsula College. He also worked as a jazz disc jockey at KAZU for nineteen years and often performs his poetry in collaboration with musicians. Among his hundreds of publications, Gitin's work has appeared in Rolling Stone, The New York Times, and Poetry Nippon. His recent work can be seen in The Anthology of Monterey Bay Poets 2004, The Café Review, Voleur de Feu, Big Bridge, and others. Refer to the 2003 Monterey County Weekly article "The Beat Goes On" for more background on David Gitin."

I know ... that's the only occasion when Miles recorded on a "left-handed" trumpet. I had two copies of the original vinyl of this. Sold one for a hand-held calculator about a year ago.

This one was famously re-done:

Thanks Joe. One review I read of the Verve album is that it has "Raymond Scott" elements. Sounds interesting. Surely there are some Canadians here pouring over this thread?

Absolutely.

Let's have a glass of wine and listen to Disc 3?

Up, to go with the recent "Who's Crazy" thread ... (where I mistakenly referred to Dean Blackwood as Dean Blackwell). Guess that makes me the one who's crazy.

Wow, that's something else. Is that Brown's first ESP album you're talking about Tony (or an entirely unreleased album)? I wonder if that 18 minute track will be an alternate take, or a new tune?

(Sound of Horshack laughing.)

That just doesn't look like Tyra in that blue shirt. Who is that?

By the way, The Bards have this DVD back in stock ...

Here's a Verve album I've never even heard of until today. (I was going to order it from The Bards, but it appears someone — probably here — beat me to it! ) Who can tell us about the music? Anyone familiar with Phil Nimmons? I thought it was interesting that this one is being reissued by Verve Canada.

... that really would be great. Unfortunately, it probably won't happen in Coleman's lifetime — that is, if he has any say in the matter. But ... maybe Dean Blackwell at Revenant will pull through for us in the end. His 1965 trio concert at the Paris Jazz Festival is very nice. Ornette opened for Sonny Rollins. Imagine that show ~

There's a reason they're called "Moe & The Poets": That back bay Boston blend was therapeutic for Charlie Marijuana, but not as much for tenor players ...

Agreed (even though I never knew the man). My feeling is — I want to celebrate the music. Any time a positive light can be seen through mental illness, which doesn't happen too often, that seems something worth hollering about. And I love it when Willis hollered. "Elvis Pres-LEEEEE!" ... or another favorite — "He's doin' time in jail. Now he's doin' time in jail ..." If anybody was ever given a natural right to use CAPS LOCK, it was Wesley Willis. Wheaties: Breakfast of Champions

... only if we CAN PUT IT ALL IN CAPS. :rsly:

I haven't heard the Select (yet), but on Lift Every Voice I've actually been struck by how close Garnett sounds to Wayne Shorter. I haven't made the Gilmore connection yet, but that's not saying it won't happen! I also think that Bennie Maupin, again on Lift Every Voice, sounds a lot like Joe Henderson.

My sentiments, too. I'm anticipating this set with more eagerness than I anticipated the release of Passing Ships. In fact, the day it shows up in the mail, I may just have to ban myself from the board into listening exile ...

Moe & The Poets currently have this one in stock for $26.99 — on sale. Marsh unaccompanied from 1987. I didn't even know this existed until today. Anyone here heard it?

Just got done listening to the VICJ of Coltrane's Settin' the Pace (courtesy of Hiroshi Tanno), and am very impressed. This one does seem a little louder than most VICJs (compression?), but the soundstage appears very natural, and Chambers' bass is exquisitely miked — full, but never booming. This session has always been one of my favorite Coltranes on Prestige, and it will now be receiving even more airplay! Right up there, soundwise, with the VICJs of Cookin' and Way Out West.

(Trying to suck up drool.)