Late

I wonder if this is the same Spencer Moore, a chef that was active in the Bay Area before moving to Mexico. According to the book Walk Tall, Moore really was Adderley's personal chef. I was 3 when this record was made, but I'm glad I was on the planet the same time as Cannonball!

Her name. Play the Prelude in D-flat major. Then drop down a half step and play "The First Time Ever I Saw Your Face."

I finally acquired this 1973 album. Wasn't on my radar for ... almost forever. Orrin Keepnews' notes are (not surprisingly) self-congratulatory, though I thought this was an interesting side note to the "live in the studio" production: "In any event, food (some magic soul food and even more magical brownies, dished up by Spencer Moore, the urbane chef provided by Cannonball), drink, furnishings and people added up to that word they always use to describe good French restaurants — ambience. It was ambient as all hell in there, and you can hear it, and all of us, on the record." • Cannonball had his own chef? • And who are "they" that are always describing French restaurants? The music is tight and fun. Good grooves. Nothing particularly earth shattering, but it's feel-good music nonetheless — especially significant in a time like this. What a gig this must have been to attend. I think Hal Galper is the X-factor here; his sound (different than Zawinul's or George Duke's) makes the record. And Walter Booker's "Saudade" is one hip composition.

Chopin was re-born in 1937 in Black Mountain, North Carolina.

This is my favorite Ervin record. The last track, "Tyra," should be played during the end credits of a noir film.

I don't know. Maybe? (Maybe not?)

ylem (noun) • the primordial matter of the universe, originally conceived as composed of neutrons at high temperature and density

I thought I started a thread on this topic! I searched for "Schoenberg" and nothing came up. A Few Notes on the recordings If anyone can find a way to share that Fred Steiner article, it's very much worth reading. (I have a pdf, but it's too big to attach here.)

Right. That's the 1950 stuff. I haven't even gotten there with this particular go-through. The 1936 recordings make Schoenberg sound like Ravel. They're just beautiful. They were made in Hollywood at the United Artists soundstage. Private pressings, one of which was eventually given to Schoenberg's neighbor, George Gershwin.

Thanks for sharing that!

With the new Mobley Mosaic in shipping limbo, this set is now very tempting. I really like Pepper's clarinet playing.

Dig.

Listening to the Schoenberg quartets right now. I think these are the first commercial recordings of Schoenberg's string quartets. So full of life. Not in the least academic or esoteric. I highly recommend this box set. Sound is "historical," so you have to deal with that, but as the set goes along, the sound gets better and better.

Agreed. After reading The New Yorker article that Joe posted here, and going through an extensive Mobley listen-a-thon, I was ready to pull the plug on this set, but now it's more of a waiting game. After listening several times to the 1963-1970 era of Mobley's recordings, I came away with much more respect for Third Season and Thinking of Home. I used to prefer Mobley's 50's recordings, but now I'm leaning the other way. James Spaulding had fun on Mobley's records!

I wonder if this set is still on backorder ...

Listening to it right now! I think this album contains some of Mobley's best solos. The composition "No Argument" is fine. Donald Byrd is in good form too — sounding very Hubbard-like.

Well put. saudade (noun): a feeling of longing, melancholy, or nostalgia that is supposedly characteristic of the Portuguese or Brazilian temperament I've always wondered if the opening suite was inspired, even if indirectly, by Coltrane's use of the suite form. In the first 35 seconds of the album, you can hear shades of both "A Love Supreme" and "Alabama." Some of the melodic intervals Mobley uses parallel Coltrane's.

Anyone here pick up this title?

That photo should have been used for the cover, even though Ayler is probably too far right. That trio was very much a ... trio. That's very cool, by the way, that you can walk to the distribution office.

The New Yorker article has sent me on a Hank Mobley listen-a-thon. I've really been enjoying this album: I always forget that it's John Hicks on piano and not Cedar Walton. The compositions on this album are first-rate, and I think I might actually like Blue Mitchell paired with Mobley more than Lee Morgan paired with Mobley. (Blasphemy!) The ballad "No More Goodbyes" has to be one of Hank's finest. Plus, the minor key bossa nova is wonderful.

Just a heads-up: Dusty Groove currently has The Black Messiah (used 2CD set) in stock. The price listed is a lot lower than I've seen on eBay. And it's a great time to support our favorite bards.

Me too. And the fact that Hank composed and arranged this album from prison — he must have had a bittersweet attachment to it. The playing is above par, with Tyner and Morgan especially shining. If there's a certain "melancholy" to Mobley's solos, one can find it here. As much as I adore Billy Higgins, I keep wanting to hear Elvin on this album (but maybe that's because McCoy's on it). In the end, the recording's once again available for us all — Hank's personal favorite.

The article had me revisit A Slice Of The Top. I didn't know that Hank considered this album his finest work.

The Scavenger was available as a Japanese import back in 2013. I've never really given Nat's Atlantic work its proper due. Must change that.

Considering that Nat Jr. was 15 at the time of that recording — well, that's pretty badass. Thanks for the pedal tones video and Nat/Joe tracks! I've neglected those albums, which is something to be remedied indeed. Like felser, I didn't even know about The Scavenger.