Late

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.)

And then: "Supa Dupa Poopa Groover"? (Somebody had to say it. Or not.)

For some reason on the BNBB, I had an aversion to smilies. I rarely used them. Now I feel less stuffy and use them liberally — maybe too liberally? I'd like to see an additional palette choice, if possible. The whistler is a nice one! And the thumbs-up, as well as its partner (the thumbs-down), always has a place. Maybe catesta can let us all in on his secret cache. If not, at least tease us with all his clever finds! Is it possible to add new smilies to the board? I guess that's a question for the OBB Enforcers. By the way, my favorites are Big Ben Wallace, and Mr. Party Toy. I still don't understand the square computer faces. Reveals my lack of modernity.

Of whom?

Red, that's an interesting choice! I just played those tracks today. They haven't sunk in with me as much as Les Stances a Sophie has, but I'll work on it. Tracks I can't get enough of: • "Hey Hey" from Lift Every Voice. I love Carlos Garnett on this. I sometimes repeat (using the A/B repeat function) his opening phrase! • "Raouf" from Roland Kirk's Slightly Latin. This whole album is wonderful (and, incidentally, not too dissimilar from Lift Every Voice). There is not a single album — at all — that I can think of that matches the components of this one. You get amazing Kirk solos on tenor, kazoo, and baritone saxophone, a hip (and not intrusive) vocal choir, a Bacharach cover, a Beatles cover (that even Lon surely loves ), and some "found" musical additions (e.g. taped voice). If you don't have this album, I think Dusty Groove was/is recently selling this for something like $7.99. Ridiculous! Subliminal Message: Album of the Week in July, Album of the Week in July. • Jim Morrison singing just this phrase: "I eat more chicken any man ever seen!"

Aha! Thanks Wheel. I can see Jazz Factory (Spain), or Definitive (Spain), or ______ (country of choice) greedily rubbing their hands. Wouldn't it behoove Jamal's estate and Verve to work something out prior to this? I guess that's a rhetorical question.

This has been done in bits and pieces in other threads, but I thought it would be interesting for this topic to have its own thread. I've seen some new avatars lately, and sometimes I find myself thinking what th'?. (In a good way, of course.) Some of the avatars here are, I guess, self-explanatory, but go ahead anyway ... tell your story! Mine is simple: Sonny Rollins, recording The Bridge. Who has the (new?) avatar of Wayne Shorter? It's great! Oh yeah, make mention of your favorite avatar while you're at it! Grazi! (By the way, I did do a search for this topic, but didn't come up with anything. My apologies if this was covered somewhere else. Humor me!)

T minus 2? OK, somebody help me out. Chamber Music of the New Jazz is really a fine LP. Whenever I play it, however, bacon suddenly gets grilled in the kitchen ... and the sound comes out of my speakers! Strange things afoot — especially as a vegetarian.