Late

Frank, I can't place that scene, but it sounds like an earlier Allen film. Bananas maybe? That was one of Sylvester Stallone's first roles (though not the first). (Maybe easy) trivia: • In which Allen film did Sharon Stone have her film debut? • What was the last Allen film Tony Roberts was in? • How many Allen films has David Ogden Stiers been in? • Who was worse in their respective Allen film role — Madonna or Demi Moore? Quincy, I think Brecker was playing a modified EWI (electronic wind instrument). Wanna post your thoughts on the show in the New Directions thread? Maybe you had a different take than I did ...

Heard the "New Directions" Quintet last night, and really enjoyed the show. Now ... "new" directions? New directions? No, not really. In fact, this band conjures up mid-to-late 60's Miles Davis groups more authentically than any other group I've heard live (though I don't get to many live shows). Apparently, the start of their U.S. tour was here — hard to believe in a way — and thus the three days of rehearsing in Eugene. All of the music appears to be new originals by Hancock (no tunes were introduced, but everyone had sheet music), save for a cover of "Pinnochio." If these originals are indeed new, they sound, at least to my ears, heavily under the influence of Wayne Shorter — but in the best way: washes of sound, floating meters, "surprise" meter changes, and then (and this sounds like signature Hancock) some Headhunter-like riffs. Carrington makes a rock beat sound like jazz! She might not have the panache or stage presence of Brian Blade, but she is a damn fine drummer — reminds me more of DeJohnette than Williams given the context — and is rock-steady. Never a flub given the (supposedly) new music. How old is Hancock? 65? I was surprised at how much youth is still in his approach to the keyboard. This must come from sheer love of the music. I did hear quite a few staple Hancock lines in the course of the night, but when he hit it — meaning when the vibe got more intense — he seemed to really come up with something spontaneous. For a few moments during one long piece, his playing was the most "out" I'd ever heard it. This was fantastic. I wanted that vibe to sustain, for him to get even more (Cecil) Taylor-like, but then the tune would shift to something else. He also played a lot of keyboard in addition to piano. At first I didn't think I'd like this so much, but the sounds he had programmed (except for a cheesy steel drum sound) were so reminiscent to me of Sun Ra mini-moog and clavinet sounds that I really got into it. And Hancock has supreme taste: he knows not to overplay, and his comping is just as interesting (if sometimes not more interesting) than his soloing. He did do a lot of fiddling with what seemed a laptop (or some panel of blinking lights), but I'm guessing he'll work out those kinks along the tour. How was Brecker? An aside — when Pat LaBarbera came to North Texas in the late 80's, he said (to us little music students) that one of the worst things about playing with Elvin Jones, which was also one of the best things, was that it was almost impossible not to play like, or want to play like, John Coltrane. Brecker put me in that frame of mind — just with Wayne Shorter substituting in the context of Coltrane. And Brecker can play Shorter damn well. Not until later in the show did "Brecker" seem to appear, and that's when I really started to enjoy his playing. He had one EWI feature (never have been able to get with the EWI), and after that feature, his tenor playing seemed more relaxed. He's a "finger player" in the best way: the clarity of his lines is remarkable. Just as with Hancock, when his playing flirted with being "out," I was the most interested. Brecker taking it (truly) out is a lot of fun. I wish he could have started there with some solos, and then seen where it would have taken him. Hargrove? He's what, 34? I don't know. A solid player, good sound, but — and this is going to sound strange, perhaps — I wanted to hear Wynton instead of Hargrove. It just seemed like Hargrove was trying to play into that late 60's vibe that Wynton seems to have already mastered back in the early 80's. I kept thinking how interesting it would have been to have Wynton there (not my favorite trumpet player, mind you), and to have Herbie and Carrington kick him (musically) in the butt and produce something truly exciting. I guess I just couldn't get excited with Hargrove. He had some great lines, and some sit-up-in-your chair high notes, but I guess I felt like I'd heard it before. I don't want to be too critical, because the guy seems sincere, but my ears just weren't there. (Maybe someone else who was at the show will have a different take.) Scott Colley seemed to play the Ron Carter role to a T. Great lines, a somewhat stringy sound, never intrusive, and one very interesting solo. My eyes tended to gravitate over to Carrington, though, whenever I'd watch Colley play. Well, I guess that's about it. Overall, a lot of fun. I'd recommend seeing this group. I bet, as the tour goes on, they're going to gel even more. (Maybe, for instance, Hargrove wasn't having the best of opening nights.) And I bet Carrington is going to generate even more sparks with each new show. She and Hancock seem to have a special musical exchange going on. Hear this band if you have the chance!

Yes! Did you go? I really enjoyed the show. (Had to stay up late afterward to grade ENG 105 papers, though.) I'll try to post some thoughts tomorrow.

Whoa — what's the title? How long has it been out?

Waldo. (Either him or Goldbug.)

Hey, what's not to like? Here's a scan of the cover of Hub-Tones: Simply brilliant. Look at the detail.

Bringing this one back up. It doesn't look like anyone's mentioned The Purple Rose of Cairo. This one, and Stardust Memories, I believe are listed by Allen himself as his two personal favorites in Stig Bjorkman's biography/interview book. Don't forget Sweet and Low-Down, too. While Sean Penn may not be the most convincing looking guitarist, this one still has its moments. Nat Hentoff (and Ira Gitler?) is in it briefly. At one time, my brother and I had several lines memorized (or we thought we had them memorized) from Manhattan. Lessee, I won't get these verbatim, but they're something like ... "I was just about to throw you down on the lunar surface and commit interstellar perversion." "I was sitting here reading the newspaper. I always get stuck on the lingerie ads — I find them highly erotic." "You know a lot of geniuses. You should meet some stupid people once in a while." There are a ton more from this movie (e.g. The Academy of the Overrated.) And one from Stardust Memories: Allen (watching his edited movie): "What, what is that? That's the silliest thing I've ever seen." Producers: "It's Jazz Heaven." Also, though it's not an Allen film, has anyone seen The Front? Great early Allen in an acting role.

Cool! I get dibs on the Cecil Taylor set.

Yeah, and you didn't even know that was a wig. (Wait until AB or couw animates the cover to show you the rug coming off. Now that will make ya urp.)

(Pssst: Don't let the Jay Jay set slip past you then! Great sound, great music. Ramen for a month ain't so bad. Also, Keystone Light, in a pinch, will get you through the blues of the credit card statement.)

I got those notices too. Thought it was strange that they had only acquired the Shorter and Wright. I'd like both of those, but am going to have to pass ... an order from Hiroshi, an ECM order, and the Andrew Hill Select have put me in the doghouse. I wonder if Dusty Groove will ever put those titles on "sale." Maybe then my guilty conscience will permit me some leeway.

Don't know the answer Rod, but that is one clean-shaven Rudd! Doesn't even look like him (at least from the few pictures I've seen).

I'm proud to say, I've NEVER bought a Japanese issue. Well, you might not want to miss out on some of the new TOCJ24s. At 1500¥ (around $13), they probably (*) provide the best sound around. * Open for debate and lively discussion, as always.

Or will it look like this?

Listening to this one now. I have to say, McMaster's '87 remaster ain't so bad. It will be interesting to see/hear what Rudy does with it. I just hope Merritt's bass isn't cranked to 11. But, I bet Timmons piano does come through with more clarity/presence. Just a guess ...

Me too, but I'm guessing that Michael's saving those sessions for Rudy's series. (They could just use the Japanese editions, and put both on one disc!)

Either would be good with me. If Natural Essence is trainwreck-less, however, I'd rather have the Quebec. Still, either will be great to have out. My feeling is that we're lucky to see these titles even garnering reissue consideration. They can't sell too well in the larger scope of things, but Cuscuna always pulls through for us in one way or another. Thank goodness we have this series!

Ron — if you can find them, I'd go for the Denons. (The ones with the yellow print on purple background for the spines.) That's a great series. Whenever I see that yellow-on-purple at a record store, I always do a double-take, and then check to see if I already have it. If you ever see Ronnie Ball's Savoy/Denon reissue, snag it! It's a good one.

Thanks, David. I'm very humbled that people here are willing to try out my book. Yusef went to UCI (twenty years before me), and I've actually studied with him briefly at a writers' conference. Very friendly, soft-spoken ... and all we really did was talk jazz! He's a lover of Dolphy and Julius Hemphill. I believe he's at Princeton now. I only know the Youngs you mention by name. (I've read good things about Dean Young's workshops at Breadloaf, though.) The Young I'm currently into is David Young, who's just done a brilliant translation of Petrarch. The introduction alone is a great entry into this (sometimes unfairly-read) poet's work. I'm learning a lot. Petrarch

I think I'll pass on Mr. Hanky and buy this cd instead. Guy convinced me, and as I already am a Rogers fan ...

Thanks Jim and Maren. That poem you mention isn't in the book, but it was very kind of the editors at Chicago Review to put it on their website. (I think powells.com and/or alldirect.com might have the cheapest prices!)

... do you mean to Water? That would be great. Thanks for being our liaison Kevin. As far as I'm concerned, the more Hill titles we see as Connoisseurs, the better! (Just maybe a kind nudge to let Malcolm handle the controls on those. ) I can see how Cuscuna would want to steer away from two-fers, especially after the Wilkerson and Braith sets. Did the Criss or Turrentine (or Byrd Transition) two-fers sell well? I'm glad to have all those.

If Judgment! uses the same remaster as the JRVG, I think everyone's in for a treat. To my ears, this is one of the best-sounding JRVGs. No crazy booming (like we unfortunately got, at least on my system, in Blue Spirits and Tender Moments). If you have any doubts about upgrading for sound on this one — I'd say don't doubt! Rudy gave Andrew some TLC on this one. I'm very tempted by the Symphony for Improvisers remaster. Larry Walsh did the remastering for the original Connoisseur, and it, well, it ... I'll probably fork over for the RVG just out of curiosity. Great album. I'm also a little surprised that an album like this could make the "RVG" cut. Way to go Michael! Now maybe we'll see Extensions & Dimensions as an RVG some day. Even though I'm not as ecstatic about the RVG series as I once was, overall I think it's a great list. Happy to see the series thriving.

Ron — for me, I can live without those alternate takes. This period of Pepper's playing (for me) just doesn't generate the excitement as do later periods. The music is fine, of course, but I don't find myself returning with any specific eagerness to check out the alternates. Instead of sleuthing out the Japanese edition, unless you're a fanatic or completist — which is perfectly allright in my book — I'd save the money and spend it on other recordings. 2¢