Late

Hey, Blind Lemon Pledge is a local band here! The singer was my YMCA camp counselor.

This album could also fit snugly into the "solo sax" recommendations thread.

Any readers of poems here? If so, what authors do you like?

Somewhat related question: Did this one ever come out on disc? (I have a feeling it didn't.) I have the one track "Premonitions" from the BYG box, and would like to hear the whole set!

Some of my most cherished recordings are often in the format of that most challenging trio: saxophone, bass, drums. Going about twenty years back, and up to the present, what are some recommendations you'd make with this trio in mind?

Just got done listening to Wee Sneezawee. Mmm-hmm. I'm in for it now. What's a credit card to do? This box will eventually end up in my (mail)box. A few more comments on the sound, in addition to Mr. Taylor's notes? Would you say that this is a it's-the-music-dummy-not-the-sound box, or rather a actually-the-sound's-not-so-bad box?

I guess I wasn't checking the board around November 3rd, and missed these reviews until now. Thanks for posting Mike and Reinier! The session is now in line, on my long list of will-probably-get-this-one-even-though-I-should-stop-spending-for-a-while cd's.

Oops, sorry John. I thought I remembered it as being Mike's avatar at one time, so I just assumed he was the artist. But, yes, I do like it!

Joe — I completely neglected Hemphill in my comments above, and shouldn't have, because I always list Blue Boyé as one of my desert island recordings! I guess I do tend to think of this session as not strictly "solo" saxophone (even though it certainly has its "solo" passages), but no need to split hairs. It's wonderful, was recorded by only one person, and there happens to be some overdubbing. I used to be prejudiced against the use of overdubbing (a crazy bias) ... and then I heard this session and finally changed my mind (or, rather, my ears finally opened up). A huge thumbs-up for Blue Boyé. I'd go so far as to say that this recording is an essential, if not indispensable, chapter in improvised music — a "must-hear." I have the Gotham Minstrels set, but haven't listened to it enough to be able to endorse it one way or another.

I hear you, Brandon. I think we're on the same page here. My only guess is that the admittedly already small market that supports this kind of music would enjoy it, and, I can only assume, purchase a copy were one available. The point's probably moot, however, because I too don't forsee its reissue any time soon, but at least there's a little enclave, right here, that can dig into the sounds of this (unfairly) obscure record. Curious to hear what other people think of this one, or if you hear different "hybrids" than those I described above.

Some details I spotted on the "inter-net": • The album cover art of BLUE NOTE, 1991, 126 pages, Collins & Brown • The album cover art of BLUE NOTE, vol. 2, 1997, 112 pages, Collins & Brown • CALIFORNIA COOL: West Coast cover art, 1992, 110 pages, Collins & Brown • EAST COASTING, the cover art of PRESTIGE, RIVERSIDE and ATLANTIC, 1993, 110 pages, Collins & Brown • JAZZ WEST COAST, 1992, 124 pages, Bijutsu Shuppan-Sha, Tokyo • JAZZICAL MOODS, 1993, 132 pages, Bijutsu Shuppan-Sha, Tokyo

Jim, that price was at an online vendor's site. If anybody could point me in the direction of "affordable" copies of either California Cool or East Coast Hot, I'd be most appreciative! I am a big dumb sucker for cover art. Love that Vintage Vanguard site, too. Never thought I'd see the original cover to Coltrane Time, which of course is a Cecil Taylor record: Dig the UA tagline: "Recorded for the Talented Listener." Ah yes, pass the Pinot Grigio, would you please?

Thanks to the generosity of a member here (and one in this thread), I finally got a chance to hear this recording. I'm glad I did! This is music I'll be returning to. First some details: Impressions of New York Rolf Kuhn: clarinet Joachim Kuhn: piano Jimmy Garrison: bass Aldo Romano: drums recorded 1967 for Impulse! Some initial impressions, at random: • I wonder what Jimmy Giuffre thought of this album. Kuhn's not working in the same vein that Giuffre did in the early 60's, but he's certainly "looking forward" here. Though I hope it was, I can imagine this album being not-so-well-received at the time of its release. Still, I'd say that, if only for a moment, it carves out its distinct little niche in improvised music from the late 60's, and does so with intelligence, authenticity, and a dedication to remaining listenable. This is my first exposure to either Kuhns playing, but I'm an instant fan — even if this particular recording was a one-off. Rolf Kuhn, to me, sounds like a more articulate version of Perry Robinson — which is not to disrespect Robinson at all; he's one of my favorite clarinetists — with a solid coloratura range, and strong sense of rhthym. • Joachim Kuhn's playing here strikes me as a sort of hybrid of Don Friedman and Cecil Taylor. Very nice indeed. And, thinking on the hybrid track, Aldo Romano's playing on this particular session strikes me as a combination of Sunny Murray and Elvin Jones: the swing and thunder of Jones with the occasional pulse work of Murray. Again, nice indeed. Jimmy Garrison sometimes seems the odd man out, but acquits himself admirably, as he almost always does. • The "Impressions of New York" in question here certainly don't share, say, Woody Allen's vision of New York — what a relief! (And I'm a huge fan of Woody Allen.) No, these impressions, and the titles that accompany them ("Arrival," "The Saddest Day," "Reality," "Predictions") speak to something darker, and far less nostalgic. The suite seems to take on a new dimension in light of the titles it bears. I might have to disagree with one of Brandon's comments that started this thread. I think people would buy this album if it were reissued on disc. I certainly would. And I think many here (and at Bagatellen, Jazz Corner, etc.) would too! We can only hope that the Japanese market sees fit to eventually release this one. It would be a nice surprise to fans of this music. What does the cover look like?

Here are three — actually my favorite, in order — solo Lacy recommendations: Remains; 1991: hatART Actuality; 1995: Cavity Search; recorded live at The Old Church, Portland, Oregon Clinkers; 1979: hatOLOGY (This is the original vinyl cover; I only have the compact disc.) I like Braxton's For Alto, but it's actually not a disc I return to with any frequency. While the recording does pay its fair share of dividends, it also seems to require a fair amount, and sometimes large amount, of patience on the listener's behalf. While not solo saxophone, though one of my favorite solo recitals ever, and one that I always recommend to fans of "free improvisation" music, is Peter Kowald's Was Da Ist on FMP. Amazing.

I'm still looking for California Cool, but so far the lowest price I've come across is around $75. Ouch!

Monoceros is out on disc, through the Chronoscope label. Damn, that's your favorite Chuck? I certainly like it, but ... whooee. Some of the most intense saxophone playing ever, I'd say. Ear-shredding and transcendental all at the same time. Not for the timid, and even for the adventurous I'd say that it requires the utmost attention to "hear" what Parker's going after. To illuminate: it can fuck a person up. I haven't heard McPhee's As Serious as Your Life, but I'm a big fan of Tenor & Fallen Angels. This was my entry into McPhee's musical world, and I've been continually rewarded ever since. I personally think there should be a listening mandate when it comes to checking out the unaccompanied saxophone: Coleman Hawkins' recording of his self-penned "Picasso." This, I believe, is where the "solo" saxophone begins. Recorded when Charlie Parker was still a teenager, I'd say that this is some of the most essential music in the saxophone canon. Hawk's solo is just gorgeous, and, at least for me, truly beyond description. The best sounding version that I know of is on the two-disc The Jazz Scene, which Verve put some time ago. Pour a glass of red, dim the lights, sit back, and put that puppy on repeat. Changes, with no changes-playing instrument behind him, come pouring out of the tenor's bell.

Count me in as a Roswell Rudd fan. I probably only have about six or seven discs with Rudd on them, but I always enjoy listening to his playing. I particularly like his work on the ESP disc with John Tchicai, and wish the New York Art Quartet's other recordings were more readily available. I haven't heard any of them outside of the ESP disc, but really want to! I also think that some of Archie Shepp's best recordings (and I'm not really a Shepp fan) were made with Rudd. Too, the Liberation Music Orchestra. And then — how could I forget! — Rudd's work with Steve Lacy. Maybe I have more than seven discs with Rudd on them ...

The album that sports your new avatar (Eddie Gale's Ghetto Music) was my first Water acquistion. Wonderful stuff, and certainly an album that I'd recommend to any fan of Sun Ra (or even Cecil Taylor?). It stands on its own, separate of influences, and opened up a new branch of the music to me. I agree with your comments re. the remastering/sound. These guys are doing a great job. For the price, all of these appear worth picking up.

Yup, but a year earlier: • November 4, 1965 Palais de la Mutualité; Paris, France This was a double bill with Ornette! The bootleg on Magnetic has fair sound, but great music. Rollins plays "one" tune for over forty minutes — a medley of at least six different standards. In the process, he loses Rovere and Taylor at times (with Taylor, to me, sounding a little frustrated) and so has some extended a capella cadenzas.

John — I think that first photo may very well be from Paris! It looks like Rollins is with Roach and Jymie Merritt there. The three toured Europe together in 1966. An under-documented period if there ever was one! Here's part of their known schedule: • November 1, 1966; Paris, France • November 6, 1966; Reading University, England (a concert for UK television!) • November 11, 1966; Copenhagen, Denmark • November 12, 1966; Graz, Austria (a bootleg cd exists of this concert)

Thanks for posting that, Bev. It's made me want to check out Bobby Wellins, a player who I'm completely unfamiliar with. Does anyone have Under Milk Wood and care to comment? While I have Hayes, Scott, Harriott, Parker, and Osborne in my collection, I still feel vastly ignorant of this thick branch in improvised music. Parker's solo work on Chronoscope is certainly ear-shredding ... but mind-opening. My favorite recording with Parker on it continues to be Hunting the Snake. A "crown" recording in my book if there ever was one.

I wish I could help out here. I dig both Pell and McKusick. I'm guessing you have all the Pell RCA stuff that's been out on disc? Hadn't even heard of the one you mention. (Sorry about the ebay experience.) ... and I bet that Japanese McKusick does sound good. (My resistance rarely holds up in those kind of situations.)

Those are great, Eke! Did you take Vol.s 1-4? (I forgot to give credit to the photographers for the pics I posted.) One of those photos should have been used for There Will Never Be Another You on Impulse! Very nice. Come to think of it, that double image color photo would have given new meaning to Newk's There Will Never Be Another You — visual pun and fact wrapped up for all! (Now all we need is couw or Africa Brass to create an Impulse! cover for it!)

To go along with the standard Artists thread on Rollins, I thought it might be interesting if we could collect some photos of Rollins in a seperate thread. Post your favorites! (Here is a great link, by the way, for Rollins cover art.) Now, to some photos ... I actually have a print of this one, framed, and in our kitchen!

Maybe the Texas residents here already know about this. I guess it's relatively new.