Late

http://www.youtube.com/watch?v=G8geam2Ey6I&NR=1 1985, Warsaw. Who's in the band?

In agreement here. Jacquet even comes out of different channels on different tracks. Still makes me wonder if parts (maybe not all of them) were overdubbed.

I think that's correct. I remember there being some hubbub in DownBeat at the time about how Blue Note was putting together a group (somewhat in the image The Jazz Messengers) that had to pass audition in order to make the band. I wonder who conducted the auditions, or if there really were auditions. Would it have been Bruce Lundvall? Cuscuna? (Marketing gimmick?) Who made up the original line-up? From memory, I can recall the horns, but not the rhythm section. Kenny Garrett (as), Ralph Bowen (ts), Michael Philip Mossman (t), and ... ? (Was Robert Hurst on bass?)

There's probably a thread on this band here, but a search didn't yield it ... Anyone here remember this band? I just listened to Spiral Staircase today (either the second or third edition, personnel-wise, of this band) and it was actually much better than I'd remembered. Michael Philip Mossman is a fine composer. What happened to him? Remember when this band came on the scene back in the late 80's? Wasn't it by audition only? I had a cassette of their first album, but it's been gone for years now. I can't even remember the tunes, and now the CD is fairly hard to come by. For all the shortcomings of the so-called neo-bop movement, this seems like one of the better bands to have emerged during the time, especially given the concurrent renaissance of Blue Note in those years.

It's not - I always did, too. As do I. Me too.

I've often wondered — just based on listening to the CD — if Jacquet was physically present for the recording of each track. His entrance and obligatos on "Charade" have always seemed strange to me, as if they were overdubbed. Sonically (and this may simply be due to the CD issue I have) he seems as if he's in another room, but his playing also seems detached from (or oblivious to) the groove Hartman has with Hank Jones and Kenny Burrell, especially from 1:47 to 1:57. Has anyone else here had this thought? Regardless, I love this album. When I sometimes think about dream line-ups, I wish that Bill Evans would have recorded with Hartman, if not in a small group (with Richard Davis on bass, Roy Haynes on drums), then with, say, a large group orchestrated by a young Gary McFarland.

Thanks for that. Her music reminds me of Nataly Dawn's.

I don't have any Sly Stone in my collection, and am interested in how his music made an impression on Miles. Recommendations, and recommendations in general? Thanks!

I listened to In Concert today, and was thinking how, at times, it was near perfect. But I guess it isn't. Anyone else have a fondness for this live session?

I've wondered that too. Wayne, to my ears, would especially fit the bill. I can't "hear" Joe on that record, but ... I've also wondered about the relative tension between George Coleman and Tony Williams. Wasn't Williams indirectly (or directly) responsible for Coleman's departure from Miles' band?

Some sound samples. And one whole track.

Listened to just the harpsichord stuff (of Meade Lux Lewis) tonight. Freakin' amazing. For haters of the harpsichord (and I am usually one, I have to admit): you need to hear these sessions. Might just change your opinion of this spindly creature.

Agreed. And same. Though, based on solos alone, it would have to be Sonny Rollins.

Not to derail the intent of the thread too much, but has anyone here every wondered/thought about what that Jackie session would have been like if Ornette had played alto? I've never heard the original "We Now Interrupt." Would like to. Too bad Ornette's later BN sessions weren't in the Blue Note Works TOCJ series. The Japanese would have kept the original intent of the LPs (which would have also meant no alternate takes). The Empty Foxhole seems like Ornette's most under-valued BN session. I guess because of Denardo's presence, but I've actually grown to like his playing there. Now if only that CD included the unissued session with Dookie on harmonica.

And THEN I realize that I can't spell! There ARE two L's. No wonder I couldn't find the dang thread. Myself in the mirror =

And the funny thing is, I remember that thread. I searched for "Kulhammar" on the board to no avail, and now I notice that you slyly added an extra L. So many straight-ahead players can't take it out enough (at least for my taste), and then so many "out" players don't have the chops to play through burning changes. Kulhammar can do both, and then do it with a palpable lust for living and bravado. He's got the finger part of the horn DOWN. And that's just, what, 49% of what makes a great tenor player? I also want to give a nod to Magnus Broo, a fine trumpet player on Moserobie (among other labels). He was at North Texas when I was there, and would sometimes sit in with the lower level bands (which at that time also included Rudresh Manhanthappa), which of course was very cool. Anecdotes aside, his Swedish Wood, is both current and deep. Just when you think a Miles influence is too strong, out comes the Don Cherry or ... Red Allen (kind of). But he's his own man on the horn, which is something everyone's aiming for. The line-up is also fairly unusual: trumpet, bass, bass, drums. It works.

Mr. Kulhammar used to post on the old Blue Note Board. Maybe he's even registered here; I don't know. But that's beside the point. Kulhammar has evolved, in my opinion, into one of the finest tenor players on the scene today. The guy has some serious tenor chops, and can go inside/outside without straining. The three discs of Gyldene Tider, while not without clear influence (Rollins most prominently), are some of the finest jazz recordings I've heard in a long time: fun, youthful, inventive, and swinging like a bee-yotch. The guy is currently only 32. What do you have on the Moserobie label? And what do you think of Kulhammar's playing?

MomsMobley = Clem? (If so, thanks for the Schnittke recs from long ago.)

Read the reviews on the Casals 2-disc set. Superlative. I own the set and agree.

That's what I kind of figured. I only have a CDR of the TOCJ, and so I'll probably end up purchasing the AP edition when it shows up on importCDs. (Goodness knows I can surely wait to purchase another CD.) The track "Formidable" isn't hugely important, but it's decent enough. It's the first track (to me) that's great. Too bad the entry on that track (just the first few seconds) has always sounded (sonically) botched. I wonder what happened to the tape there, and if that same glitch (drop-out?) is on the LP. (Do you guys know what I'm talking about?) I also dig that Pete LaRoca is credited with a "free" drum solo on this LP. (Five years before Sunny Murray!) All said, it really is a fine solo.

Also wanted to say that it's such a pity that Stockhausen yanked (purchased back) all his recordings on DG. Why? (I should start wiki-ing these things ... )

I'm guessing that would be the original (?) on Deutsche Grammophon. Thanks for the great responses guys. I appreciate it. On The Corner has been clicking for me like never before. I can sit through the whole disc (just the album proper) without getting bored or distracted for even a second. Whereas before I "appreciated" it, now I find it transfixing. Funny how these things just take time. Now I wish I'd gone for the box set when it was in-print. Oh well. There's still a ton to listen to. (Dark Magus, Get Up With It, etc.) I used to have a CDR of that Chitinous LP, but now it's nowhere to be found. Great buggy stuff.

I have it and it does. Thanks. A sonic improvement over previous versions? One of my favorite McLeans. (I forgot about Elusive Discs. Thanks, Hans.) I'm still waiting for importCDs to carry this title.

Dang. Some great titles there, and good prices. Too bad the ones I want the most I already have.

This question has bugged me for a while, and maybe I'd know the "answer" were I to read more biographies, but I thought I'd ask the cognoscenti here (and I mean "cognoscenti" in a good way!): Miles Davis, when On The Corner came out, cited both Karlheinz Stockhausen and Paul Buckmaster as influences. What music was Miles referencing? What do you suppose he had heard and absorbed as an "influence"? I actually have a small number of Stockhausen recordings (five), but they don't usually put me in a Miles frame of mind. I don't know the music of Paul Buckmaster at all. Looking to be enlightened — thanks in advance for your thoughts/observations! (I put this thread in Recommendations so that someone might recommend some of these "influential" recordings.)