Late

I'd say so, but I'm not half as familiar with Axelrod as I am with Macero. (The two albums I used for the comp above, by the way, are The Black Messiah and Music, You All. I'm not as familiar with The Price You Got To Pay To Be Free.) I understand the "all freaking in" argument, but I could live without Mike Deasy's guitar and Nat's (and certainly Nat Jr.'s) singing. But I LOVE when Nat gets into that sub-register. It always seems to make the audience laugh (the extra-low growling), but to me it's some serious sh*t. Brass players — is there a term for that type of playing? I could never picture Miles doing that. But Nat — for as much as he borrowed some of Miles' licks during this period — was not Miles Davis, which is a good thing. I have to add — sometimes I daydream about what the band would've sounded like with Joe Henderson in the frontline. I think Cannonball always played a little better when there was some friendly competition on board. I think Joe would have raised the bar. Plus, I'd love to hear what he would have done with Zawinul's compositions. Daydreaming aside, this period of Cannonball is perhaps my favorite. Burning. And when Zawinul left, George Duke didn't drop a beat. (And you can tell he'd been paying heavy attention to Herbie Hancock on Henderson's Power To The People.)

Anyone here a fan of Stokowski's Bach Transcriptions? Which collections do you recommend?

All three Cannonball reissues on the Dusty Groove label appear to now be out-of-print. That didn't take long! I put together a single disc (79 minutes) comp — with the objective of maximizing Cannonball solo space (apologies to Ernie Watts) — from two albums that goes like this: 1. The Black Messiah 2. The Steam Drill 3. The Chocolate Nuissance 4. Dr. Honouris Causa 5. Episode from The Music Came 6. Circumference 7. Pretty Paul 8. The Scene 9. The Brakes 10. Walk Tall I wish I were better skilled at using editing software. That way I could merge applause as well as fade in and out in order to make this setlist more seamless. (I had to trim some of Cannonball's on-stage banter, but it makes for a tighter "album.") The Black Messiah & The Legacy of Cannonball Adderley, by Nate Chinen & Alex Ariff

Mikkelborg's debut, 1967. Has it ever seen a digital release? ("The Mysterious Corona" has a timely sense of foreboding.)

Danish trumpet player and composer, born 1941. I'm guessing many Americans don't have much familiarity with Mikkelborg outside of his work with Miles Davis on Aura. But I'm also guessing that members here (non-U.S.?) do have familiarity. Share your knowledge! And check out this 1972 show. Yes, under the Miles influence, but burning nonetheless. There's also this killer 1966 studio recording, captured on film.

Listening to this album right now: With Sam Jones, Ron Carter, and Mickey Roker on board. Excellent music.

Ah, gotcha. I didn't know that a BNBB member made actual covers. I do remember couw making some covers for the board. One was his version of The Trainwreck.

I believe you're thinking of couw? I think this current Blakey cover is fine, but the use of red (if I'm being picky) somehow feels wrong. Reid Miles seemed to favor pinks and purples (and oranges) — pastels, generally speaking — over red. Yellow on red also seems a combination that he (generally) would have avoided. When Miles used red, it often appeared over white. (Leeway is an exception that comes to mind.)

Listened to this disc yesterday. Some of the best Louis Moholo drumming on record. (The liner notes go to some length discussing Hazevoet's search for the "right" drummer.) This is free jazz worth returning to because of its variety of texture; it's not just a blow-out free for all. Today, Dieter Scherf's Inside-Outside Reflections is in the queue. (One of the odd perks of social distancing is going back through the collection and re-discovering gems. I've currently been going through my UMS discs as well as Bach cantatas.)

Listen to (a few) full tracks here.

Damn. A fine 22-minute documentary.

And you can currently purchase a download of this album: for $2.97.

This series had 70 issues (mostly CDs; others were digital files, a book, and a DVD). Looking over the discogs list, I realized that this title: ... completely flew under my radar. I'm listening to it on YouTube right now. So far, it's quite good! Anyone here already own this one?

What's the significance of having the test pressing? And the CD comes in a Softpak? Never heard of that; sounds like something that will get crushed/creased in the mail.

I return to this session from time to time to hear the Tadd Dameron tracks. (Sam Rivers!)

I don't know if this video on the Coltrane Dix Hills home restoration project has been posted here before, but just in case ...

Just got done listening to this particular reissue. Some notes/thoughts: • The (single) disc is over 76 minutes long. • The sound is much better than what's on the Revenant box set. • You can hear Peacock's bass notes. On prior issues, they were fairly muddled. (It's still not up to studio-grade sound. It's a live date.) • This reissue is in full cooperation with the Ayler estate. (Desiree Fellows) • There's a cool inner photo of the band by Nils Edstroem. You get to see how close, physically, they played together (and how low Murray liked his drums). • Brian Olewnick wrote the notes. They're to the point and without Art Lange-style pontification. One quote I found odd: "... Ayler venturing into the glossalaliac, supplemented by an odd moaning, presumably from Ayler himself or one of the other musicians." I always thought it was obvious that the moans were coming from Sunny Murray. (Ayler had a mouthpiece stuck in his mouth.) But maybe I've got it wrong. • To fit on a single disc, one alternate track was left off the program. • I'd give this reissue a strong . Even missing the one track, I think the music is worth re-buying for the upgrade in sound. Kudos to Peter Pfister.

Because you despise them? The series came out in 2007. Eleven titles! It was the only way (to my knowledge) to acquire Live At The East on compact disc. It was an excellent series indeed. But I say that not because I loathe them. I don't even detest them. (The last three titles aren't as strong overall as the first eight, in my opinion.) Yes. Perhaps my top choice. I'd also like a reissue of Live In Seattle with the 2011 SHM-CD remastering. That one has been elusive.

20 Impulse! titles on "ultra-high quality" compact disc now listed at CD Japan. I've never purchased a UHQCD. Can't say I'm too excited about this reissue series. It would be nice to know what remasters (old/new) are being used. If they were using the 2011 SHM-CD remasters, then I'd be more interested. Nice to see the McFarland in the list. I've never heard the Jackie Paris title. Twenty titles seems slim to celebrate a 60th anniversary, but maybe that's all the market can bear right now. What titles do you wish had been in this list?

Distant Thunder up now for order at CD Japan. The series is 1200¥.

Gotcha — I'm glad I remembered the quote incorrectly. It makes far more sense with the DON'T in there!

Listening to Yosuke Yamashita's Clay right now. The sound is AMAZING. Yes, it's louder than the vinyl — Solid followed their standard approach to compression — but there's a live presence (it's a live date) that the vinyl doesn't possess. Far more visceral. (The sound does peak at times, but it's infrequent.) I can't recommend this one highly enough. It's been 31 years since this session was on compact disc! If you like Cecil Taylor-esque trios (in this case clarinet, piano, drums), this recording is one you should check out. Yamashita's trio puts more space — and quiet — in between their noise than a typical Taylor session, if that helps to describe the recording. But there definitely is NOISE, in the most positive of ways. It's alive in the best possible (free) way. Takeo Moriyama has got to be one of the most under-valued "free" drummers around. Tony Williams, I think, would have loved his playing. Anyone else have this new disc? What are your reactions? The music (if you like "free" jazz) is heavenly.

Oh man — really? (I'm not disagreeing with you.) That would make the exchange even more intense. But Miles kept playing (albeit briefly) "I Fall In Love Too Easily." When did that drop out of rotation? About ... 1973?

I think Jarrett's point was that Miles was the type of forward-looking musician who, on principle, would steadfastly refuse to recycle his own material, though he did just that in 1986 upon Quincy Jones' prodding. But, agreed! — Jarrett did play the shit out of the electric music he contributed to Miles' band. Whether or not he owns this — well, to me it doesn't seem like it. In that documentary, Jarrett is more than happy to point out that playing electric keyboards is something "he didn't do and doesn't do." Um, and then he did it. And was often filmed doing it. Convulsing in front of the Fender. The Jarrett quote that stuck with me from that documentary was something along the lines of: Miles (to Jarrett): You know why I play ballads? Jarrett (wanting to know why despite already having his own opinion): Why? Miles: Because I like ballads so much. I think Jarrett liked when he recognized (before anyone else in the band) Miles playing "I Fall In Love Too Easily." Michael Henderson would drop out because there wasn't a groove to lay down, and Keith was left to play some fragments under Miles' horn. This latest documentary seemed to push the theory that Ascenseur Pour l'Echafaud pre-figured Kind of Blue. I'm not buying it. I still think George Russell is critical to any discussion of "modal" music, and that — I haven't seen yet. (But maybe there are documentaries out there that do?)

Agreed. I've always wondered if that session became something of a motivation for Coltrane to clean up and get his playing together. How would Rollins have fared, just a few years later, on Giant Steps?