Late

What do you all think (those that have it) of The Columbia Jazz Piano Moods Sessions? This is one Mosaic that seems to almost never get talked about. (Or at least I've missed any prior discussions.) Ralph Sutton? Joe Sullivan? Bill Clifton? Don't know these guys, but am curious. p.s. In Sal's first Mosaic thread, I gave a mini-review of the Elvin Jones set. I like this one a lot more than most, and I think one of the reasons it makes people hesitate (to consider purchasing) is because of its size. The Lighthouse material cooks (especially if you're a tenor fan), and The Ultimate Elvin Jones trio set is a hard-to-find gem that, aside from the vinyl, can't be found elsewhere. If Mosaic has another 10% off sale, and you like Elvin, I say this is worth trying out. The exciting moments in the box I think definitely outweigh the over-produced moments.

Paul Bley You knows it!

Today: • Charles Mingus: Jazz Composers' Workshop (Savoy) — Dig Teo Macero on this. • Paul Bley: Footloose (Savoy) — Amazing. • Paul Bley: With Gary Peacock (ECM) • Paul Jeffrey: The Electrifying Sounds of (Savoy) — Posted in the Recommendations forum about this one. • Jelly Roll Morton: Volume One (JSP) — Need to play this more. A lot more.

Tony Jerant started a thread on this album back on the BNBB, and I thought I'd start one here. I'm listening to this as I type, and must now allow for a Whoo! While this is probably not a revolutionary album, it definitely has some fine playing in it. If you like progressive hard-bop (for lack of a better term) with numerous (but controlled) gestures toward the "avant garde," you should certainly seek out this album. Jeffrey is a very solid tenor player, in what I'd call (if name references are necessary) a Joe Henderson-Bennie Maupin mold. A husky tone, and fairly well-mastered technique. His strongest suit, in my opinion, is his writing, and this album has some nice examples of it. Two notes: (1) Jeffrey uses a Varitone (electrified application) attachment on some tracks. While this might scare some off, he actually uses it pretty judiciously, and if you just think of the sound in a Roland Kirk type of way (tenor, doubled an octave lower by a baritone), it really isn't bad at all. (2) The disc is remastered from a vinyl copy. The sound, considering, is still pretty good, but on the opener, you can hear the needle running across the groove. That said, the band on this set is terrific. Tom (Rooster Ties) — if you like progressive trumpet (which I know you do), this is one to pick up. Jimmy Owens is in fine form on this album: looking ahead, and outshining Jeffrey in places. He has some very effective high note wails on the track entitled "Green Ivan," which is an attractive minor key composition of Jeffrey's. It's the kind of segment in a song (Owens' wails) that you have to fumble for your remote after hearing it, in order to play it again. The rhythm section: George Cables (acoustic piano), Larry Ridley (bass), and Billy Hart (drums). Recorded August 8, 1968. Ridley's fresh out of Freddie Hubbard's band, and lays down some nice bass lines. OK, enough from me. I know there are other admirers of Jeffrey in general, and this album in particular. What do you think?

Side note: One of the best shows I ever saw at North Texas was when Bill Evans (tenor) was brought in for a day (evening) to play with the faculty. This was '89, and he and Soph had an extended tenor-drums duo. It must have been totally unscripted, because Evans, on the stage, gestured to the other guys on the gig that he wanted just to play with Soph. (Just one tune, and toward the end of the set.) The other guys nodded, and walked off the stage. Soph ripped it up, and I had a whole new appreciation for Evans' abilities after that. The guy can play.

I went 5 months, three weeks, and six days once (1998; grad school; no intended reference to anything by L. Prima). I was aiming for the cool 6 months, but couldn't make it. I are a stupid moron dumbsh' ... It was a bet. (Please don't make me tell you for how much.) I lost it. (The bet and my wits.) I've since regained my wits (somewhat), and am now, since you mention June 1st and all, toying with the idea of a 3-month layoff. I ... can ... do ... it. I hear the Clinton Forry approach helps. You see, it works on a point system. Each album not purchased in a day, accompanied by each album (already owned) listened to yields a certain point ratio. If you stay within your point range (±2), you can maintain a healthy listening regimen, and feel better about yourself and your wallet. I've joined, quit, and rejoined Obsessive Upgraders Anonymous circles, but they just don't work for me.

I second that. I'd love to hear this music. Lacy in a trio is my favorite Lacy format. And hearing Cherry in a trio would be great too. What would have to be done in order for this music to make it onto compact disc, and available for purchase? It seems like there's quite a bit of Lacy material from the 60's that's never seen release or reissue. Supposedly, Lacy recorded quartet music circa 1963 for both Verve and Columbia that got "lost." What th'? Two somewhat "obscure" Lacy albums from this period (actually around 1965) are Sortie and Disposability, the former a quartet record, the latter a trio record (made at the RCA studio in Milan). Fine music in both, and I wish — especially as Lacy's still with us and back in the States — that they'd see proper issue on compact disc. Probably won't happen for another 237.6 years. I'll be dead.

The album pictured above is available on compact disc ... in its Vogue incarnation. Here's a link. Haven't heard the music myself, but have heard Legge with others (Mingus, Roach), and would imagine there's some fine playing on that expensive little platter. Note: Our old colleague from the BNBB, Al "Joe Christmas" Jones is on drums here. Didn't know he was that old, though.

Hans — Indeed, Annette's voice is certainly an acquired taste. I think she sings a little "better" on her own ECM release, but if you can't into that track (on Crispell's record), you can probably safely avoid An Acrobat's Heart. At least Peacock doesn't pretend to have an operatic voice. Ghost — If you have and like Bley's Closer, you'll like Ramblin'. While I think the former is probably more essential, the latter has one of the most swingin' versions of Ornette's composition I've ever heard. It also has yet another beautiful version of Carla Bley's "Ida Lupino," one of my favorite compositions period. The hatOLOGY disc is certainly nice, but I don't know it well enough to recommend. There are a few more Bley trio recordings from the 60's that have yet to be reissued on disc. Bley until circa 1970 is probably one of my all-time favorite artist/periods in jazz (piano trio-wise). I say "circa 1970" mainly because I don't know his later recordings well enough to comment one way or another. I do wish, though, that the guy had a consistent recording contract back in the 60's. His Footloose on Savoy, from 1962, seems way ahead of its time.

On an Annette Peacock kick recently, so ... • Paul Bley: Ramblin' (BYG/Sunspots) — Nice remastering on this '02 edition. Fine thinking by Barry Altschul here. • Marilyn Crispell: nothing ever was, anyway — One of my personal choices for a "crown." Gorgeous stuff in pristine sound. • Paul Bley: Annette — Still trying to get used to Koglmann on this one. So far, I still like the tracks without him best. • Paul Bley: Turning Point — John Gilmore. Nuff said. I also have Annette's own An Acrobat's Heart, which is a very fine record, but I haven't spun it yet. I like both her piano playing and singing. If Irene Aëbi sang like Annette (their approach seems marginally related), I'd probably have a lot more Lacy records.

One more word about Hopper. Was the guy prophesying the future of UTES?* Many of the women in his paintings are, um, bountifully endowed, in addition to being unusually defiant of typical gravitational forces. Don't mean to start one of "those" threads, but I thought it was at least a point of curiosity that scholars on modern American painting might be able to speak to. * (Upper torso enhancement surgery.)

I relistened to the master take of "Teeter Totter" from Our Thing yesterday, because I thought my description of it above was kind of lacking. I said it was a model of grace, forward motion, and individuality. For what it's worth (if anything, and no one but myself asked me to explain), let me try to clarify: • "Grace." Uh? I actually wouldn't normally think of that word when I think of Joe Henderson. Paul Desmond, or maybe even Harry Carney, yes, but probably not Joe. What I meant was that each note of the solo is clearly articulated, and this requires a graceful collaboration between tonguing and fingerwork. • "Forward motion." Well, not always. Joe, to me, is really a riff-based player, often stringing together sophisticated licks (or riffs) to form a well-knit whole. But this solo ("Teeter Totter") is more than riffs-strung-together. As Sonny Rollins has been noted for thematic development, I think Joe might be the master of motivic development. Whereas Newk plays themes that occur and reoccur (with and without variation) throughout a solo, I hear Joe as using motifs, which I would describe as shorter "themes," which he then adjusts slightly if he decides to play them again. Rather than just repeating a lick (which Joe sometimes does do, especially descending whole tone runs), here he modifies or inverts a lick if he's going to repeat it, and I find this to move a solo "forward." • "Individuality." Maybe I came close on this one. I think this solo is one of the best examples of Joe's identity as an improviser. It's what marks him (besides tone) as different from the dominant tenors of his time (and I'm thinking mainly of Coltrane, Rollins, and Shorter here). Well, that feels a little better. Thanks for indulging my transgressions!

I thought that was The Hop! (Which I'm sure Edward Hopper never was referred to as.)

av•a•tar (av'-uh-tar): An embodiment, as of a quality or concept; a temporary manifestation or aspect of a continuing entity. Yep, I'm still waiting for Parkertown's post, and ghost of miles' post (origin of painting; painter) as well. Also want to hear about Mike Weil's conga player. And who has the avatar of the bass saxophone?

- I DON'T KNOW WHAT TO SAY! I'M JUST SO ... - CAN IT NORMA.

Wut Ime tokkin' boug. Bad scan, but: Witch a few sound samples.

Un Temoin Dans la Ville is a nice soundtrack. Some tasty Kenny Dorham thereon. Unless you're specifically a vinyl collector, a lot of French soundtrack work is already out on compact disc, both in the Jazz et Cinema (Jazz in Paris) series, and Universal France's Band Originale series. The one to get from the latter series — and something of a hidden gem (but maybe only to Americans) — is definitely Martial Solal's A Bout de Souffle. A great soundtrack, with an album's worth of extras! I would rate it in this order: . You see, now you have to get it.

One thing I liked on the other board was the entry of a poster's location, just below their post number and status. For some reason, it helped me better remember certain posters when I had a geographic connection (East Coast, UK, EU, Japan, etc.). What do you think? Could we bring this feature onto profiles — meaning the profile we all see when reading a thread? I know it's listed when you follow the links to a poster's profile (if they've chosen to fill in that datum), but I always thought it was nice to see just under a user's handle. Thoughts? Opinons? Greazy?

My favorite Joe Henderson album has always been Our Thing. Some of the finest Henderson improvisations on record, in my opinion. Listen to his solo on the master take of "Teeter Totter." It's a model of grace, forward motion (as opposed to repetition), and individuality. If there's one Henderson solo to transcribe and learn, in my book it's this one. Hill might not seem the most likely candidate for this album (— Herbie Hancock may have fit the compositional nuances of Kenny Dorham's work more closely), but he nevertheless carves his place into the line-up, adding an essential (and positive) tension. This album, I must also say, has some of Dorham's most beautiful writing ever — emotional, but never maudlin. _____________________________________________________ A few other single song recommendations: • Henderson's solo on "Nite Flite," from Lee Morgan's Delightful Lee. A perfect example of Henderson's "bagpipe conception" (his term, I believe; or else it's Don Sickler's) for overblowing. Damn exciting. • Henderson's cover of "Lazy Afternoon" ... not from Basra, but from his own Power to the People. This later version, I think, is much finer, and much groovier. Hancock has some of the hippest comping here that he's ever committed to wax. • Henderson's solo on "The Melting Pot," from Freddie Hubbard's Blue Spirits. One bad mother-f'. And defintiely worthy of a

Spun this one yesterday ... While certainly an easy listening album, this one nevertheless has its musical (and improvisatory) elements — one of which is Ray Brown on bass! What do you think of this album in particular, and Feliciano's work in general? While I'm not such a big fan of his Doors or Beatles covers, I really do enjoy the cover of "California Dreamin'," especially when Feliciano breaks out into Spanish. And ... the guy, when he wants to, can play. Interested to hear what you all think.

Oops, couldn't be the Davis's. I'll stick with my original votes. You're killing us with suspense! Oh the horror! The joy! :rsly: - STILL A GEEK.

I'll throw my lot in and say: Sam Rivers: "Inventions & Dimensions" and Lou Donaldson: "Lush Life" Or ... were they the original editions of Miles Davis, Volumes 1-3? More GEEK facts, please! - I AM A GEEK

The Taylor Montmartre 2-disc set sounds very fine, especially considering the live ambience. The "alternate" tracks, however, are far muddier than the tracks originally selected for the album. That said, I'd buy it again if I went back in time. The original cover art is also very nice to have, and the liner notes from the time ('62) seem to me exceptionally insightful. I can't remember now, off the top of my head, who wrote them, but he also did the liners for the Debut release of Albert Ayler's "Ghosts." I'd say go for this package if you like Taylor's music. I like this one more than both his Blue Notes.

A Curtis Amy Mosaic Select? Life is indeed beautiful. Thanks for posting this Brad!

(Thumbs-up smilie.)