Late

"On that note, one wonders about Yeats’s claim that the best lack all conviction while the worst are full of passionate intensity. Trane is as passionately intense as ever. Did he lack conviction? Maybe the Yeatsian opposition is false and passionate intensity covers up or disguises a deeper lack of conviction." I missed this thread the first time around (three years ago). Some fine reading. I have two thoughts when reading the Dyer quote above: • No, I don't think "one" wonders about Yeats's claim at all. At least Yeats doesn't enter into my mind when considering Coltrane's Temple recording. I do understand that "one wonders" is rhetorical, but I think Dyer's underlying sentiment is actually imperative, that is: You should wonder, like me! • When I do wonder about Yeats's claim, I can see how Dyer's proposition fits his own writing — e.g. Dyer's "deeper lack of conviction" when it comes to examining Coltrane's music in context is disguised by a "passionate intensity" of his own opinion, conveniently leading him to his own "terminus" or "brick wall."

Very interesting observations. I've never considered that Bud had songs he'd lean on (and that weren't in a typical set list) while struggling through especially dark periods. "Epistrophy" makes more sense in this regard. That opening ostinato in the left hand is dark indeed.

This was my impression (based solely on sound samples) as well. I have to return to Remains. I remember being blown away the first time I heard it. Solo Lacy is so different than Lacy in a trio; it's like talking about different varieties of wine.

This has been stuck in the car's audio system for some time now. A wonderful mono recording. Highly recommended.

I thought this board, and this thread in particular, might appreciate fourteen lines on Chet Baker.

Blues For Bobby Ward

I've been listening to sound samples. They sound good, but I have so much solo Lacy that I need to revisit first. Still, that set is the only place to hear some Lacy compositions.

On a Monday. It wasn't last week, so it must have been the 11th! (Maybe Japan to the West Coast happens faster?)

Today I made a personal burn of Disposability and Sortie to fit on one disc. They fit perfectly — 79:15. Great to listen to both albums back to back. I've also listened again recently to The Forest and The Zoo. Better than I've given it credit for over the years. I wish Rava and Lacy had stayed together for a few more albums. And ... I hope Emanem keeps finding Lacy albums to reissue! I haven't picked up Cycles (from Emanem). Anyone here have it?

Listened again today. This is my reissue of the year. So good.

I like both discs. The Hancock/Corea influence is strong but genuine. On Wishbone, Moore's eighth notes are occasionally stiff (in a "swinging" sense), but his covers of "Pinocchio" and "Vonetta" are inspired. By the second album, Furioso, the playing has loosened up and is perhaps more adventuresome, but the repertoire (e.g. "Hi-Heel Sneakers," "Bo-Diddley") is of its time. The Roberta Flack cover is pretty good though — but you probably have to like the song to begin with. There's no laziness in Moore's playing, but it's not as fluid as (what seem to be) his influences. I'd be curious to hear what pianists on this board have to say.

Very true. I listened to both discs today, and was amazed at how good these new transfers sound. The "tap-dancer" is completely gone from Disposability. Carter's bass is slightly more up-front, Lacy is a few feet back, and Romano, though slightly further back in the mix, is very clear. In fact, this new reissue had me pay attention to Romano's playing much closer than before. What a great free drummer he was during this period. What he has to say is much different than, say, Ed Blackwell or (especially) Sunny Murray. Romano puts a fair amount of space, or "windows," into his playing — the result is drumming that simultaneously explodes and floats. The bonus sessions are good. The film cues are interesting (though I've never been able to get with Berger's playing), while the 1972 work on Disc 2 is amazing. I have to re-listen to those three tracks.

Agreed. This particular edition, from looking at the tracklist that Claude posted, doesn't seem like it would be much of a listening experience. The cat on the other hand ...

The cachet of the album seems simple: it's Coltrane as a leader on Blue Note. It happened only once, and was well-recorded. Coltrane alternate solos are always a good thing. I'm happy with the SHMCD, however, and will take a pass on this one. Agreed.

Looking forward to it.

As well as the :06 studio chatter clip "Coltrane Sneezes." Plus "Coltrane Sneezes (alt.#1)" and "Coltrane Sneezes (alt.#2)." Must have been Lee Morgan's after shave.

Now Coltrane's Blue Train fits on two discs.

That's good advice. I only have three Carter albums: The Betty Carter Album (love this one), Droppin' Things, and It's Not About The Melody. I saw her live just once, after Droppin' Things came out (I think that was the most recent album; maybe not). The concert took place just a handful of days after Sarah Vaughan passed, and Betty sang an impromptu tribute to her. Marc Cary was the pianist (he seemed perfect for her), and Gregory Hutchinson was the drummer. I can't remember the bass player. It was a really good concert. I've actually never checked out her early work.

Did anyone here purchase the Betty Carter title from this series? (I'm guessing that it's been out before?) I need to put it on the purchase list.

I've had the Stockholm recordings for more than 20 years, but I've actually never heard the Olympia stuff, so I'm definitely in.

Listening to this set right now. Good with a martini. This date could have been a quartet session (ouch!). Mobley plays just fine, perhaps above fine, but I think Miles is the one that really steps it up — you can hear quite a bit of experimenting with lip-slurring and bending/half-valving notes; his chops were in good shape. The club vibe is infectious.

The original Vogue cover had some creative spelling for Monk's first name: The EP corrected it, while using alternate song titles: And iTunes offers this rare Monk gem: And ... Vogue also issued this The(lonious) Monk(s) record during The High Priest's "jerk" period.

Agreed. And ... I believe so, yes. I'm still waiting for the live stuff circa 1971-1973.

Agreed. His sound on the drums was like no other. What would Spiritual Unity be without him ...

And don't forget Mr. Blyleven!