Late

That is a pretty good price from CDUniverse. Hmmm, I was just planning an order from Alldirect, however. I wonder if they'll eventually stock these. Any thoughts? Too outside of the mainstream? (They do carry some BYG/Sunspots titles ... ).

Thanks, Bright M ~ that just made my morning. I never met (or heard live) Steve Lacy, but he feels like an essential part of my life. It's hard to believe he's gone. Still, there's so much music of his that I've yet to hear ... And dig those socks!

An interesting (at least to me) aside: The city library here has recently been purchasing a fair amount of OJC titles for their collection. Some, like Rod Levitt's album, will likely go the way of the deletion axe if Concord decides to make this kind of move. What a great thing for a library to do — get ahold of this stuff now, and keep it available (hopefully for a long time) for the public! I wonder if anyone there has been reading posts here ... ? Just yesterday, I checked out Gene Ammons' Groove Blues from the library. (And ... they're getting in some Ernie Henry!)

Thanks for sharing that, Dave. ?

... and, perhaps, the most difficult thing. I second this sentiment.

Does anyone know the story behind Maupin being listed on that ESP, but not actually playing? I'm assuming that Maupin was there for a session, but that it was never released? His playing on the Hill Select has whetted my appetite ...

Damn, and those jokes are sometimes pretty funny! (Like when some jackass quotes another poster saying REALITY, but thinks it would be funny to edit out the I and make it REALTY, which then allows him to proceed on a tangent about homebuying and real estate.) I think it's interesting that you come here to debate — nothing wrong with that, of course, and I think a lot of others do too. For myself, I can live without debates on music. I often sense (and this is not directed to you Mr. Che, or to anyone else in particular) that there exists a strong impulse in those who listen to "jazz" to be right. Bev (I think it was Bev) made a comment a long time ago about coming to this board because he likes to see/read other people enthuse about certain records. I think that's my favorite aspect of boards like this one. I'd rather be a jazz dork — wetting my pants over some Schlippenbach album — than a jazz aesthete. But, maybe, the words "jazz" and "aesthete" are somewhat inseparable ... ? At any rate, back to The Oscars! 1985 broke my heart when Dexter and Bob Hoskins lost out to (a deserving, but just not for that movie) Paul Newman. I boycotted for years, and now watch the chump show every now and then. A mediocre, if numbing, form of procrastination — good for avoiding that stack of essays that need grading.

Not to stir up the pot too much, but this board is often like TV for me — it's a narcotic of sorts. Sometimes that's a very good thing, and sometimes it's not. I do know that I come here more often than not to not be too serious. If a distraction can be pleasant and (sometimes) informative ... that's icing on the cake! NOVA's had some decent documentaries on the evolution of existence lately, and (everything has to have its opposing pole) then there's The Oscars. There will (probably) always be both, and how we manage our attention to either one (or none) is of course finally up to our own sense of at-the-moment values. If I watch The Oscars, am fleetingly titilated by it, and then feel stupid afterward ... at least I have that feeling of stupidity to puzzle over. (Can I learn anything from that?) I can then turn to Bud Powell's Moods, put it in the player, and feel oh-so warm and fuzzy and smart.

Thanks — we just got outbid on a little charmer. A heartbreaker. Edited for more tact. (Hopefully.)

No man — not possible. We've been house-hunting for way too long now, and in a seller's market no less. Oh, wait. Wuzzat?

... me too. But then we wouldn't be American now, right? And, besides, dig Gwyneth!

Dig — and Sean Combes just put in a plug for them! Puffy like Starky!

... reminds me: I still have to get the Starker recordings of the Cello Suites.

Annette Benning (no time to do her hair; on valium) just introduced Yo Yo. He's playing BATCH. S'not bad.

Hey ... it's least active because of the Macademia Awards! Hard to not be g l u e d to that American heartbeat.

OK you guys, but if you turn it on right now (quick!), you'll get to see Salma Hayek. Meow!

If you put it on mute, then you can make up your own acceptance speeches. S'fun!

Not only is the music great on this Select, but the remastered sound — thanks Malcolm! — is superb. The unissued quartet session with Cecil Payne is dyno-mite. If you dig this set and don't yet have the Weston OJCs ... time to snag those before their (eventual?) bon voyage!

Today it was: Blur, Beck, Kinks, and Jon Spenser Blues Explosion. Not bad, mind you, I was just having a heavy Bud Powell jones. But a guy must be democratic with the stereo and what comes out of it ... right? Actually, my wife's introduced me to a fair amount of rock music that I otherwise wouldn't ever hear.

... just read the subtitle of this thread ... I guess this morning I am fairly inactive. (Must be because we're listening to my wife's music this late a.m.)

Hey ... just like in that Tom Cruise movie "Vanilla Sky"! Remember? There's a holographic version of Coltrane playing "My Favorite Things" for the birthday party scene — taken from, I think, that German television production. How could that be holograph-ed?

Steve Lacy Quartet Columbia (unissued) NYC, probably early 1964 Roswell Rudd-trombone; Steve Lacy-soprano saxophone; Lewis Worrell-bass; Dennis Charles-drums Eronel Tune 2 Think of One unknown title ---------------------------------- Steve Lacy Quartet Verve (unissued) NYC, September, 1964 Roswell Rudd-trombone; Steve Lacy-soprano saxophone; Lewis Worrell-bass; Dennis Charles-drums Locomotive Hornin' In Comin' on the Hudson I Mean You

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."