Late

Well put!

When my parcel arrives, I'll have to listen for it. I've read that Roy DuNann was a big badminton fan, so if it was a badminton broadcast, I'm in. 😁🫠

Because of this recommendation, I've started to explore the work of Quatuor Zaïde. I'm really enjoying their offerings on YouTube. They've had a few personnel changes (mostly the violin chairs), but their approach as a group is full of life—really brimming with affection for the music. Too bad the prices for their compact discs (in the U.S.) is upward of $35 each. Thank you for the rec!👍🫶

👍 I listened quite a few times to all three volumes on YouTube. Effortless swing, and I dig the blues tracks. I found Vol. 3 for $5, so had to pounce. This will force me to listen to that volume before finding/purchasing the others. 😁

Added to my Hawes collection today.

I was going to make a post mentioning Ballads, but discovered—almost exactly three years earlier—I already did. Just listened to the album in full. Never a dull moment.

One of Guy's (Brownie's) photos...

I always connect "Freedom Jazz Dance" with "Gingerbread Boy," very likely because they're back-to-back on Miles Smiles. But the compositions do seem to share some intervallic qualities.

Listened to this "note" just the other day. A great entrance indeed. I can't remember where I read this (it was decades ago), but Lateef was evidently a huge proponent of playing long tones (like, really long tones) as a method of warming up. Holding a pitch (with no circular breathing) for close to a minute or longer.

!!!! Yamashita is one of my favorite pianists. I'd love to hear his take on Hawes. On another note— Probably because they both recorded for Contemporary around the same time, for some reason I connect Hawes with Phineas Newborn. How much would you all say that Hawes and Newborn overlap in concept? (Or do they not overlap at all.)

My Braxton collection is relatively small, but these two are the albums I come back to the most.

I had the same thought. I don't own the Pablo box, but...

💣💥

Just watched the video above for the first time. I'm still learning about Kenton, but I enjoyed the clip quite a bit. Does anyone else hear gestures toward Gil Evans in the first 1:50 minutes? Maybe they're just surface, but I also hear parallels with Oliver Nelson's writing for large group when I listen to Kenton (in general, not the clip above). Nelson is more identifiable, more idiosyncratic. Maybe it's just the "feel" of the charts. To date, I have only seven Kenton discs. That's keeping me busy for now.

Blues For Bud = Spanish Steps. The latter title is the original album title. Spinning now. Really nice. Dig "Sonora."👌 I only own two (!) Hawes titles: Spanish Steps and Vol. 3. I'd like to find a copy of The Seance.

Time to play holiday music! 🎄

Hmmm. Maybe I should qualify "inventive" within Nelson's own parameters. Nelson's stretching past what he usually does (in his "Shadow" solo), and stretches even further during his "Elegy For A Duck" solo. Parts of his soprano playing remind me of what Wayne Shorter would sound like about two years later. I wonder if Shorter was aware of Nelson's playing, particularly on soprano.

Agreed. I wonder if Byrd ever was present (in the audience) for a Miles show at Paul's Mall or other venues of the period.

Donald Byrd: Live In Boston, 1974 💣

Even if you (one) doesn't care for the orchestra side—though how could you not like "Flute Salad"??—there's no disputing that the charts are played flawlessly. Especially that opening bass clarinet line. You never hear a breath or a split note. I only wish Nelson had stepped a little closer to the mike. The quartet sides are badass, especially with the addition of "Straight No Chaser" and "Example 78" as bonus tracks. Ron Carter sounds great on "Elegy for A Duck." That's one hip bass vamp. And notice how the tune is a clever nod to "Take Five." I wonder what made Nelson decide to pick up the soprano for this album. He plays it so well...it's not simply a "double" for him.

There's a thread here dedicated to Nelson's work on Prestige, but I couldn't find one that discussed this album. I've had this on compact disc since it was first reissued in the early 90's. I always go hot and cold on it, but yesterday it really clicked for me. Nelson plays soprano throughout, and his intonation is near-perfect, which in a way isn't surprising given Nelson's meticulousness. His solo on "The Shadow of Your Smile" is really something else. Longer than most Nelson solos, and not openly reliant on his "patterns for jazz" as much as other solos of his from the period. It's really inventive. And his sound is so flute-like in the upper register—I wonder what Steve Lacy or Coltrane thought. (Is Nelson playing an Otto Link? I think so.) What do you think of this record? Both the orchestra side and the quartet side. Does the rhythm section (Steve Kuhn, Ron Carter, Grady Tate) gel?

Excellent work, Pim! I think a lot of members of this board would purchase ALL of those sets.

Fantastic!!! Thank you for posting that video. Dig Dennard playing cross-legged at the piano. Oh, check out this article—which mentions Dennard—Tangier's Jazzmen.