Late

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.

I think the rumor about the Mulligan Songbook Mosaic Select might be more than rumor. I received an e-mail a while ago from Michael Cuscuna (so I hope this OK to post), and he projected (but didn't promise) a 2004 time frame for this Select. The most exciting news about this particular package (because most of the music has already been available separately) is that: (1) A number of original stereo master reel tapes were recently found, therefore allowing new remasters. (The existing single discs all come from mono tapes.) And: (2) This Select will contain all of the Vinnie Burke sessions that Burke recorded while Mulligan was in the studio. I believe these recordings were entitled "Swingtime" or "Stringtime." For those who haven't heard any of the Burke sessions, here's a look at the line-up: Gerry Mulligan: baritone saxophone Paul Palmieri: guitar Dick Wetmore: violin Calo Scott: cello Vinnie Burke: bass Dave Bailey: drums On paper, it would appear that the session might be some kind of "third stream" attempt, but it's actually pretty swingin' jazz. The tunes selected (covers of Horace Silver's "The Preacher"; Milt Jackson's "Bags' Groove," etc.) also help with the groove. I'm not sure that Mulligan will actually be on all of the new unreleased tunes (maybe someone else does know?), but I'll be eager to hear how this set sounds. It's fun stuff. Having Reunion, with Chet Baker, in stereo for the first time will also be very nice!

A great way to enter into Jamal's work is with this 2-disc set: Sound samples here. An album that not's part of the above compilation and that I'd really like to see reissued is Jamal's Chamber Music of the New Jazz. The music cut for this LP became the direct inspiration for Miles' & Gil's Miles Ahead. Playing them back to back makes for some interesting comparisons. My vinyl copy is heavily played, and a digital transfer, I agree, would definitely bring out the quieter passages. Also, everyone should have a chance to read the original liner notes — by Herbert C. Lust!

I think I had five Wynton Marsalis cd's at one time. I sold them all, around 1991, to cover the cost of some Henry Threadgill discs. I haven't really missed them, but I did like Black Codes. For those who'd be interested in hearing Wynton play "out" (well, as "out" as he'll ever likely get), check out his solo on "The Impaler" from Jeff Watts' Citizen Tain. It really is an impressive solo. Still somewhat wanting emotionally, but engaging nonetheless. I'd love to hear Wynton in a context that would make him somewhat uncomfortable. Reason being, I think (I'd like to think) he'd push himself out of his (generally predictable) aesthetic zone. Imagine him sitting in for Dave Douglas in Masada. I think it would actually work. And John Zorn has gone on record as saying that he even likes (some of) Wynton's playing. (I doubt, in return, Wynton's ever even heard Zorn. Could be wrong, but that's my hunch.) p.s. Without meaning to connote anything necessarily negative, I think Joe Milazzo nailed it when he said that Wynton is the Paul Whiteman of the 21st century. I can't think of a more accurate depiction — and pithy too!

I'm with John (J & S) on this one. I look to both, but admit I have a lot more fun reading the Penguin Guide. I appreciate how their reviews don't enthuse too much (as I'm sometimes prone to do) with any given artist. Lee Morgan's entry I think is a good example. While The Sidewinder (understandably) receives a crown, Tom Cat gets nailed for being generally uninspired. Yes, there are some glaring omissions from the Penguin (Wayne Shorter's The All Seeing Eye comes to mind), but overall I find myself concurring with Cook and Morton's tastes. Additionally, if it weren't for the Penguin Guide, I would have never known to check out, say, Krzysztof Komeda's Astigmatic, or the Vienna Art Orchestra's Erik Satie album, two recordings that I now find essential. I guess, actually, this means I'm throwing my lot with the Penguin Guide. Aside from some of their reviews on Sonny Rollins' RCA and Impulse! work , I trust their system. I have yet to feel about any of their crowns.

I have to post this because I like this image so much. I wish a poster was available! Henry's right under Sonny Simmons on the top right, I believe.

Would be great to have a reunion recording of the members from this album. Mike, what can you tell us about Tom Price? I don't know anything about him outside of the work he did for ESP.

This has been a good discussion. Let's keep this up! (I have a few ideas for album of the week. How does one go about getting nominated to nominate an album?) Pryan, if you're looking to start a Paul Bley collection (at least one or two discs), I strongly recommend picking up Bley's Closer. An amazing trio album, with Bley really pushing the limits of piano improvisation for the time, and within small time frames. (All the tunes are around the 3 minute mark.) This is one album that I think Penguin nails in its review. The version (the original?) of "Ida Lupino" is very moving. I return to this one a lot, and never get tired of it. Then, if you like Closer, go for Turning Point, which adds John Gilmore on tenor. Beautiful, beautiful playing.

Just picked this one up myself. Well worth adding to your collection. Very fine playing, and something to keep returning to. To hear some sound samples, go here.

Thought I'd bump this one back up for reading, and so that others might post. A good topic! My handle is actually my name. Late is short for Laton (which is pronounced as if there were a "y" in there). I've heard of and met people with the name "Layton" or "Leighton," but I've yet to meet (or even read about) another Laton. Got to be some in Scotland, I think. You can call me Late or Laton. Am used to the jokes regarding tardiness or being deceased. (The avatar is Newk — from the recording session of The Bridge!)

What, in particular, is unsavory about the sound of the Turrentine Mosaic? I haven't picked this one up yet (due to, in part, having some of the music on separate discs), and would like to hear a few more pro's/con's about the sound. I'm sure the music itself is fantastic.

Welcome back (fellow Oregon resident)! I'd enjoy reading your posts once again.

Does anyone have an idea as to why Weston particularly dislikes Destry Rides Again? Cuscuna (rather cryptically) refers to Weston's reasons in the latest Mosaic brochure (magazine), but it didn't help me to figure out the situation any more clearly. Not that it matters all too much, of course. I certainly respect Weston's call to have this album withheld from reissue. I was just wondering about the details behind the situation. Anyone in the know?

I have none of those recordings that Fontana's on! I do have him on Bill Perkins' On Stage, which is quite a nice record (that I'm guessing you have already?)

No love for the Elvin Jones Mosaic? I think this set pays fine rewards with repeated listening. Plus, it's the only way (besides owning the vinyl) to get the wonderful The Ultimate Elvin Jones, a trio session with real huevos! Joe Farrell was a perfect fit with Elvin's band, and isn't too heavily influenced by Coltrane (or Coltrane's shadow). The Lighthouse material, as well, has some exceptional tenor interplay between Dave Liebman and Steve Grossman. Some of the "battles" (while actually quite friendly) are fierce with chromaticism and altered chord substitutions. My old saxophone teacher used to joke that this was the only album (Live at the Lighthouse) you needed to own in order to learn the tenor. (He was huge fan of Liebman and Grossman.) This set is worth owning, at least down the road. Some of the later 70's stuff is iffy, but that's at the end (and skippable!) If Mosaic ever has a 10% off sale again, that would be a good time to pounce on this one.

Finished grading about 120 student essays (midterms). It's party time! • Jorge Ben: Samba Esquema Novo • Della Reese: Della Della Cha Cha Cha — this album is enormously fun! • Teddy Edwards: Good Gravy! • Andrew Hill: Andrew!!! • AEC: Nessa Box, Disc 1

As long as we're hijacking ( ) ... Ralphie, I would strongly recommend this Weston album: It contains the original version of "Little Niles," which is wonderful. This album I don't have, but I dig the cover! And this album contains the original (I think) melody for "St. Thomas," which Weston titles "Fire Down There." (That's at least two melodies that have largely been attributed to Sonny Rollins — "Tenor Madness" and "St. Thomas" — that other musicians have recorded first. )

Dana, I've often wanted to hear Lee in place of Donald Byrd on Newk's Volume One. Not that Byrd doesn't make a good showing, but I think Lee's sassier playing (and especially with Roach on board for the session) would have made this date even finer. This is getting off-topic a bit (sorry Rooster), but what do you all think would have happened were Lee to have filled Clifford Brown's chair in Roach's band (instead of Kenny Dorham), circa mid-'56 to '57? I think Lee coud have brought a greater cohesiveness to that unit, especially before Rollins left, and Max recruited the Turrentines. OK, as for the poll at hand, it's essentially a straight tie (so I couldn't vote) between Hill and Young. I think my favorite Morgan soloing, however, is still on Evolution.

John (Tapscott), if you check out that Rosolino link on the first page, you'll find a link to a page on Carl Fontana. Apparently, he's in the later stages of Alzheimer's right now. Very sad. What I've heard of Fontana (which admittedly isn't much), I've liked quite a bit. That trombone page also has links to quite a few other (unheralded) masters of the slide instrument. I don't suppose Bob Brookmeyer would fit into this category (as the valve trombone has no slide, unless it's the super-bone, which I guess has both valves and a slide), but I would have cast a vote for him too. Can't wait until the Mulligan CJB Mosaic comes out. There are going to be some tasty Brookmeyer solos in that set.

Jan, I did read that Ben's melody was indeed plagiarzed by Rod Stewart. And ... that Ben sued and won the legal case! Ben is also the composer of "Mas Que Nada," a tune popularized by Sergio Mendes and Tamba Trio. I'll have to look into that album you mention. Lon, I think you'd dig this one, especially if you're into Brazilian work from this time period. Dusty Groove is carrying quite a bit of Ben material from the 60's right now. One of the pros of this album (besides the fine music) is its (to my ears, etc.) fine remastering. The originally recording must have been quite good. Make that excellent, because this remaster sings through the speakers. The one con of the album (if you could call it that) is its short playing time — 28 minutes. Still, with 12 tunes, it seems long enough. Ben voice's takes just a little getting used to. He's a tenor (or at least I'd call him one), and so the range is a little higher than I expected. He also has a very fine falsetto, which he uses to fine effect on a number of tunes. The vocals, for lack of a better description, are somewhat "raw," but certainly packed with emotion. I wish I knew Portugese!

Lately, I've been spinning this album a lot. Not jazz, of course, but very catchy stuff at times, and with jazz-like references from the horn section. Recorded in 1963. I feel like I should have known about this guy a lot earlier! Have you checked out Ben's music? (Apparently his last name is now Benjor.) What do you think?

Damn! Thanks, Mike. Now all we need is a scan of Hosea Taylor to post here. The phantom!

I just wish that this album ... had been included with the West Coast Classics series. Don Ellis, Paul Bley, Gary Peacock, and two drummers?! Argh! I have wanted to hear this album forever, but don't think I will any time soon. Where is the emoticon of a crying face (due to unrealized reissues)? We need one of those ... By the way, that photo comes from an excellent site on Don Ellis's music. Definitely worth checking out. Did someone here create it? If anyone has a copy of this album, and could manage dubbing a copy (any format, even 8-track ), I'd compensate happily. Then I would use this guy ...

This set is also a good way to expand one's collection of BOB GORDON. Highly recommended (thumbs-up icon ... where'd it go?) Alternative: (I "wub" this set.)