Late

At last! Great choice. One thing I always forget about this album: the largest configuration here is only a sextet. For some reason, with all the colors Russell gets out of the ensemble, it sometimes feels like a nonet or larger. I'll go out on a limb here and say that, for "jazz" recordings, this album may be the most harmonically advanced of its time (1956). I also can't think of any other albums previous to this one that could stand as a musical precedent or model. It seems to have simply occurred, fully formed, on the scene. Now, that is likely not the case, as I'm sure Russell had his mentors and influences, but, at least discographically speaking, it does seem the case. I don't understand the Lydian Chromatic Concept (of Tonal Organization) that well, but I think I'm hearing a fair amount of "fourthy" chording, which Russell may have first heard in Stravinsky's writing? Maybe someone more musically trained can clue me in. What is your favorite track from this recording?

Also wanted to say that those Eddie Gale's (both of them) never fail to put me in a good mood. Thank goodness Water had the good vision to get them out to the public. Great music, great sound, great packaging.

I e-mailed Water about the Cox titles, but it seems they have a policy of not responding to unsolicited e-mails? Maybe if more posters here sent them (courteous) e-mails about the possibility of licensing the Cox titles from Blue Note ... who knows, maybe they'd see a demand for a product that Blue Note might not!

Thanks for linking that. It is a good review, with little Jurek slobber! I have to admit to playing Crystals less than Rivers' Blue Notes, but whenever I do, I always think "I need to play this one more!" What, exactly, of Rivers' Impulse! work has made it onto disc? Here's what I think is out: • Streams (now long OOP?) • Trio Live (which culls from various Rivers' Impulse! titles, I think; don't have this one) • Crystals Any others, and any others that you'd like to see out (or that should be out)?

It does groove, which I think is a huge accomplishment for such an "avant garde" session. Robert Palmer, in the notes to this album, nailed it when he said: "Rarely has atonality in jazz writing sounded this warm."

... and now, in its Japanese incarnation (with even more bonus tracks from Freeman sessions), it's 71:42! 21 tracks in all. And, the "Crutch for the Crab" track now has the entire introduction (dubbed from LP as the original master tape is evidently stretched beyond repair).

Another vote for the I-just-don't-care-for-those-vocals camp. Still, looks like a great Mosaic. I do like to imagine what a vocal-less compilation of this would be like, though! It would probably defeat the purpose of Mosaic in general, but wouldn't it be interesting if with every new Mosaic release, a simultaneous "best-of" single disc from the box were released? I wonder if that would help or hurt sales of certain (especially larger) boxes.

Town Hall, 1972 Was there a power outage during the concert? (Seriously, though I haven't heard this set, great cover.)

That is a great album, Alan. I especially like the (previously unissued) version of "Troubles." Lacy sings! Have any of you picked up this one? What's it like?

Who is "Reginal" Workman? Is he a "genious"?

Spaulding, at least in his Blue Note sideman days, often relied on favorite licks to move his solos forward. Most notable, I think, is a descending chromatic pattern that you'll hear in nearly every session for Blue Note that he appeared on. It's not a bad little lick, but its repetition over the years does start to make one wonder if he didn't reach some kind of improvisatory plateau. Bear in mind, I'm a Spaulding fan myself. I love his sound on alto, and I especially like the way he bends notes to add that "human" quality to his playing. I just find that on Dimensions & Extensions, Rivers' charts seem to push Spaulding, in a good way, out of his comfort zone. I think the same thing happened to Freddie Hubbard on Contours, too. Sam Rivers' writing seems to have that effect! I actually really like Ellington's playing here, as busy as it sometimes is, though I do hear what you're saying about the mix. That's part of the reason I'd love to hear that JRVG. Too bad this recording never made it onto the TOCJ format. I wonder why not? Some day, I suppose, it will find its way into the Connoisseur line-up.

For the past five days, I've listened to this album every morning. Something about it just keeps me coming back. Rivers is in incredible form here. Even Rivers aside, I think this album has some of James Spaulding's finest solos that he ever waxed for Blue Note — almost fully clear of the usual Spaulding clichés. I'm still not sure about Donald Byrd's contributions, though. I don't dislike them, but I do keep wanting to hear Woody Shaw. And Cecil McBee's bass playing! What do you think of this one? Share your thoughts! (Does anyone here have the ultra-rare Blue Note Japan Club-only JRVG pressing of this album? I'd love to hear that one.)

Now available at Dusty Groove (who bumped their prices up on this series by a $1 ) ... Comments/reflections?

See, you didn't even have to use words at all. I propose a ban on words. Smilies only.

Now now, you know better than to speak all in blue.

... and I just raided my local organic foods store for all their hibiscus green tea inventory! (Still waiting on the Ellis, though.)

Now seems the perfect time to add this:

These seem to speak for themselves ... And of course:

Thanks Sidewinder and Bev. Yesterday I listened to the B-side of Celebration, and really enjoyed it. I do hear that choral (or brass choir) reference you mention, Sidewinder. I know that I'm going to return to this album frequently! (Bev — the recommendations have been duly noted! Thanks.) Dusty Groove sells Impressed Vol. 1 for $22.99, and Vol. 2 for $24.99! Egad! Any posters here in the States know a way to acquire these for a more reasonable price? I'd pounce on both were they in the $13-$15 range. Since this is a British Jazz thread, let me throw out a few more questions at random: • Anyone hear pick up Michael Garrick's Promises? Joe Harriot with Tony Coe? What's it like? • How about all those Jimmy Deuchar albums reissued by Jasmine? Relatively standard fare bebop? (Not that that's a bad thing ... ) Or more "chamber jazz"? • What happened to the UK Columbia series? The Howard Riley and Tony Oxley reissues were great, and then, to my knowledge, the series seemed to evaporate. (A side note: Have any of you noticed that Riley's compositions often sound a lot like Annette Peacock's compositions? I wonder if the two knew of each other. When Riley plays, say on The Day Will Come, I often think of Paul Bley playing Annette Peacock tunes.)

Any comments on the McFarland with Evans album? That one's new to me.

Green tea, my friend. The antioxidants will pull us through!

Mentioned already by Joe and Bruce, but I wanted to bring attention back to this particular two-fer. Not only is the music great (particularly Starting Time), but the original recording by Ray Fowler (and subsequent remastering by Kirk Felton) is fairly amazing. The horns are dramatically up-front — right there on your lap — but somehow they don't drown out the contributions of the rhythm section. (If you're a Wilbur Ware fan, you need to add this to your collection!) Both albums, originally on Jazzland, are some of the best-sounding I have on compact disc. And, sonics aside, Jordan's solos ... like your favorite slice of cheesecake and cappuccino: scrumptious. (And I didn't even get started on Dorham's contributions ... )