Late

Sound clips for Sonic Temples here and here. Some sound clips for Short Life of Barbara Monk, a fine quartet recording with Ricky Ford, right here. Some sound clips for Wende right here.

We need a Blake thread. I highly recommend this one: I was listening to it earlier tonight, and was impressed all over again by Blake's touch and conception. I particularly like "Arline," "Wende," and Blake's wonderful version of "Stormy Weather" on the above disc. John Litweiler and Joe Milazzo have written fine essays on the music, and musical vision, of Ran Blake. Maybe they'll share them here. Bring on the stories and/or recommendations. I know Chris Albertson has one (a story) about Blake's RCA album.

For better or worse, legal or il-, this is a fine comp: Also, check this search.

What do you guys think of this one? I missed out on a relatively cheap copy, and now have a line on a more expensive copy. Worth the extra dough in your opinion?

I'm looking forward to this one, too. The addition of Frisell to Douglas's current working quintet (Chris Potter, Uri Caine, James Genus, Clarence Penn) should make for an interesting album. I really like The Infinite, and have high hopes already! In fact, I already have a ticket for when Douglas makes his way out here (quintet only) in May.

Also wanted to say that Marsh's cover of the third movement of Tchaikovsky's "Opus 42," with Ted Brown in the front line (from Jazz of Two Cities), is one of the most beautiful things on record ... ever. One occasion where the word "sublime" truly does seem appropriate.

Listening to Live at the Half Note as I type this, and thought it was time to stir up interest again in this incredible duo. This live set blows me away every time I play it, not so much for its intensity, but for the spontaneity of improvised line and almost scary intuition these two had together. Just when I think I've memorized some of the lines, and try to sing along with them, Konitz or Marsh go just where my ears don't expect them to go. These guys were truly masters of (subtle) surprise. I don't know if this two-disc set is out-of-print, but if you don't yet have it, you're in for a big treat. "317 East 32nd." Yeah.

A Mosaic Select of Hill's unissued 1967 recordings (perhaps along with his unissued 1969 recording), were it to actually happen, would be terrific. Here again are the dates and personnel: • February 10, 1967: Robin Kenyatta, Sam Rivers, Cecil McBee, Teddy Robinson, Nadi Quamar 5 tracks • May 17, 1967: Ron Carter, Teddy Robinson 6 tracks — the Chained session • October 31, 1967: Woody Shaw, Robin Kenyatta, Sam Rivers, Howard Johnson, Herbie Lewis, Teddy Robinson 5 tracks • June 13, 1969: Carlos Garnett, Karl Porter (bassoon), Richard Davis, Freddie Waits, Sanford Allen (vocal) + string quartet I would think, however, that a single Connoisseur of Compulsion might be reissued first. I seem to recall reading on this board (or another) that this was Andrew's preferred date for re-release. What's most encouraging, at least to me, is that sessions from out-of-print Mosaics are now receiving fairly regular reissue treatment — sometimes with better sound (as in the case of the recent Sam Rivers and Larry Young reissues). Jackie McLean's Mosaic sessions are slowly being re-released, and I would think Sam Rivers' Contours actually will see reissue some time within the next two or three years ... or possibly sooner. (Heck, a Mobley or Morgan date is practically in every batch of new RVG's or Connoisseurs.) With so many reissues on the market nowadays, and with my futile attempts on keeping up-to-date with new music, I can honestly say that I can wait, in due time, for all the remaining holy grail Blue Notes to see reissue. As long as Cuscuna is on board, I think most of the Blue Note and Pacific Jazz vaults (and other EMI-related labels) will eventually, and relatively thoroughly, be excavated and reissued. (And in the meantime, we're lucky to have small labels like Water!)

November, 1986. Vancouver, British Columbia, Canada. A store called either Sweet Thunder or Sweet Lightning. (Can't remember which now.) I was 16. Tenor Madness

Guy, I switched titles. You're right — Extensions sounds pretty good. It's Expansions that sounds (to me) almost like AM radio. Well, probably not that bad, but I'd be all over an RVG clean-up.

Another plug for Bartz's work on McCoy Tyner's Extensions and Expansions. I can't believe Extensions hasn't seen RVG treatment! That's one of the worst-sounding, if not the worst-sounding, 80's-remastered Blue Notes around. The music, however ...

Rob, I'll give it a go. I still feel I'm learning about Lacy's music, and his musical world — which of course continues to grow. I find that I'm most attracted to Lacy's work when he's playing his own compositions (rather than Monk's, or Herbie Nichols', for instance), with the notable exception of School Days, which I'd call an essential purchase. Of those I have, here's what I'd recommend, in order: • N.Y. Capers & Quirks This is my favorite Lacy recording of those I own. Trio of Lacy, Ronnie Boykins, Dennis Charles. Intensity + melodic invention + interplay + boundary pushing = one helluva great album. For me, this one ranks up there with albums like A Love Supreme. • The Rent I like this one for sentimental reasons. Trio of Lacy, Avenel, Betsch. Recorded at 11th & Clay, in Portland, Oregon. I was living in California at the time, and I wish I would have been at this gig! Familiar Lacy compositions, but played with commitment and joy. • Vespers My new "favorite" Lacy recording. Ricky Ford's solo on "If We Come Close" is worth the price of the disc alone. Absolutely ecstatic playing — sends chills down my spine. Blaga Dimitrova's poems (in translation) seem perfectly matched to Lacy's tendency toward short melodic motifs, and Irene Aëbi does fine work singing "lyrics" here. Lacy doesn't allow himself a lot of solo room, and instead each band member is featured per song. • Sortie I only have this on cassette, so it actually doesn't get played that much, but whenever I do play it, I always remind myself to play it more. Quartet of Lacy, Enrico Rava, Kent Carter, and Aldo Romano. Recorded in 1966, I like this session quite a bit more than the similar The Forest and the Zoo. I wish it would make it onto compact disc, but chances seem slim. The poster who went by cherryco on the BNBB made a copy of this one for me. I think he has far more Lacy recordings than myself, and probably more knowledge of Lacy, too. (There was also a poster on the old board, whose handle I can't remember, who was a genuine Lacy devotee, owning well over a 100 recordings, along with private tapes. I wish he would post here!) • Disposability I was first lukewarm on this session (had a copy, sold it, then acquired another), and now I've warmed up to it quite a bit. 1965 trio of Lacy, Carter, and Romano. Compositions by Lacy, Monk, Carla Bley, and Cecil Taylor. I really like Jean-Jacques Avenel with Lacy, but Kent Carter seems to have had a special telepathy with the saxophonist, responding well to his lines. • High, Low & Order A strange one, but beautiful. Lacy in a duo setting with Maarten Altena. Very few "notes" are played here, with an emphasis instead on pure manipulation of sound. Live, and beautifully recorded. 1978. I know other posters out there (who are maybe only reading?) know a lot more than I do about this guy's work. I'd love to read your comments! I'm particularly in the dark on Lacy's 80's work.

What do you all think of Dutch Masters? I have too little Misha Mengelberg.

Last night I counted my Lacy albums — 20, which is either a fair amount, or hardly any at all. I'm guessing the latter! Cliches is currently on sale through Cadence for $8.50, and now seems the perfect time to pick it up. I have School Days in its original compact disc reissue. Is the newer reissue worth picking up for improved sound, or should the $ go elswhere? My local library actually has a copy of the live Sweet Basil set, so I'll have to go check that out soon. I remember Shrugs touting the vinyl only (so far) album Ballets. Anyone else heard this one? I occasionally find used Lacy discs, but have actually never come across (locally) old vinyl. I'm on the lookout for Stabs, Stalks, and a duo disc with Kent Carter that I can't now remember the title of.

With such a huge discography, it's hard to know where to begin. I'm particularly interested in hearing thoughts/recommendations on recordings made from around 1975-1995. What group configuration do you most like to hear Lacy in? Mine always used to be the bread-and-butter trio: horn-bass-drums. Vespers finally broke me out of that mold — in addition to being the recording that opened my ears up to Irene Aëbi's singing — and now I'm on the search for larger group recordings. Would especially like to read thoughts on: • Futurities (both parts) • Itinerary • Clangs and any other titles, regardless of being in- or out-of-print. I just missed out on a sealed copy of Blinks, and am now kicking myself.

Any thoughts/reviews on this one, now that it's been out for a while? I haven't picked it up yet, mainly due to $ deficiencies, and partly because I've been heavily into Vespers. Beautiful recording, that one — with Ricky Ford in top form. How is Itinerary while I'm at it? I've finally "gotten" Irene's singing.

I don't have Transfigurations, but just listened to some sound samples, and there appears to be some piano, too. Sounds like a really good album.

It looks like almost all of Coltrane's work has been reissued on disc — — with Huntington Ashram Monastery and Lord of Lords the only (?) titles not yet reissued, though some of the tracks from the former can be found on this disc: Does anyone know why Coltrane stopped recording? (Or did she stop recording?) Another question — How many children did John and Alice Coltrane have together? (Also would like to hear what your favorites are from the above.)

You might try here.

Up for renewed reading and interest. Ptah, the El Daoud seemed the perfect album this morning to usher in the new year. Something about that march (to purgatory) in the title tune, and the freshly fallen half foot of snow outside — it just made sense. Have any of you tried Alice's work recently reissued on Sepia Tone? Reviews?

Singer, While I've ordered from Sleeve Town with good results, I haven't tried the sleeves you're mentioning. The best mylar sleeves for mini-LPs that I've come across are actually from Red Trumpet, right here, and about 3/4 down the page, under "Japanese Products." The price isn't the best, but they are specifically designed for the Japanese mini-LP format, and reseal nicely. I actually bought 200 of the things. And, if you get your order over $30, shipping is free ... which of course, as you're a fan of the mini-LP, means that you'll need to add this to your shopping cart. In its Japanese incarnation, the album sounds amazing. The music ain't bad either.

Better, sometimes, than coffee in the morning: (And for less than a pound of beans, too.) Well, that about does it for me.

Not adding much, but these are probably still my favorite Shank sides on record: The DVD of "Barefoot Adventure" is actually quite fun. Certainly worth renting, and I'm pretty sure it even includes some music not found on the Mosaic.

Tower had this for $7.99 two weeks ago, and I picked up a copy. (Now, for whatever reason, they appear to be selling it for $9.99.) This documentary has been discussed before (though I couldn't find any threads after a search), but I thought it was worth bringing back to the spotlight. The most refreshing aspect for me of the program (which certainly isn't comprehensive, and doesn't claim to be) is that it actually gives equal treatment to all "periods" of Miles' playing. Yes, that means the 70's work, 80's work, and even the last bit of early 90's work gets mentioned in detail. Hallelujah! There's absolutely none of the Crouch-Wynian spin that "Miles wanted to be liked by younger fans and so he started playing rock music" here, and, as a result, the evolutionary line through all the decades that Miles performed seems all the more clearer, almost as if you can hear at times why Miles, for instance, would cover a Cyndi Lauper tune. I wish that some of the concert footage could have gone on longer (and there's no reason, I suppose, some of this footage could have existed at the end as unedited "special features"), as it's inevitably the highlight of the documentary. In particular, the '69 date in Germany, from what little one gets to see of it, seems especially exciting. The documentary also renewed by enthusiasm for Bill Evans (the saxophonist; or, as the narrator repeatedly says: "sax-off-uh-nist"). Who else has seen this, and what was your reaction?