JSngry

I know very well what they are doing. It's not the band's fault if pop audiences can't hear past the nose on their face. That's the result of decades of audience narcissism and industry cynicism playing into it. Besides, even if you don't know "the tradition", if all one hears is "noodling" and not something...different, then one is not entitled to have their opinion taken seriously. This i do believe.

It also took forever to come out. I placed a preorder as soon as it was announced, and, IIRC it took about a year (or more?) to actually be released. For such great, seminal (albeit in slow motion) music, Columbia has been stingy with it.

I'm going to hold off for a little bit in case some new people want in.

It is.

Yeah! That's what I would have liked to have seen used as a basis for the new covers!

Pro sports.

Those two records are the beginning of the concept of The Second Great Quintet as a thing. Nobody was thinking about that group as a live band, not yet. It was those two records that got the ball rolling. In 1976, after Miles was retired and after how many evolutions, and who was thinking about a 10 year old club date shaking up the world? But the they were. You could get them if you had a contact for Japanese records. I got mine in 1981 (after after hearing them fou a few years) at Jazz Record Mart, but I had to order a week in advance, such was the ongoing demand. That's been the consensus as I have heard it.

1976 and American Columbia wasn't interested for a while. There was no Second Great Quintet yet.

1976. Think about that.

That voice transcends any and all material.

It would have been cool if they referenced the OG Japanese LP covers for a concept. What they're using now is a bit "generic".

My suggested order is Bille(Clarke), Hawk, and Bechet. And then some cartoons to reset for the next round.

Chilto next imo.

I get that a tie sucks, but not as .much as a loss, right?

Overlooked AND underrated!

Is there a price for this?

That sizing thing sounds like a efficient that should have happened long ago just because.

The Clarke book is major.

Marion Brown's health began to decline, and this record is reflectively of that, which might be why I couldn't decide if he sounded old in a good way or not. His days of peak facility had already begun to be behind him.

Trick or Treat!!!! TRACK ONE - There's the Elvin in there. And perhaps McCoy as well? I'd be shocked if I don't have this record, but having it and knowing it are two different things....that's the RVG piano sound, tho, so that narrows it down, right? LOL. Not bad, but a little abbreviated, and the bari-heavy intro has just a teence of Ra to it. First time thru, I was halfway expecting it to be a soundtrack cut! TRACK TWO - Definitely a Billy Bang joint, but god, there's so many of them, where to begin? This one is a bit more focused than some, and Bang joints are always better with focus. A LOT of that is coming from the rhythm section. Alto player sounds old...perhaps not in a good way? But maybe so? TRACK THREE - Of its time, in a good way. Everybody came to play, and they did. Helluva tenor player goin' on in there! A lot of influence, but no outright imitation, so yeah. WHOA on this trumpet! WHOA on everybody!!! TRACK FOUR - Sounds a lot like early Threadgill Sextet. I love this stuff. The only thing is....no trumpet? Or is there? No matter, this one works for me. TRACK FIVE - Mingus, "Son With Orange", from Mingus Dynasty - the OTHER 1959 Columbia Mingus album. Perhaps highly underrated? TRACK SIX - No idea. It's ok, not crazy about the tenor player's tone, it's almost a lot of things....I suppose they all mean well, right? TRACK SEVEN - "Cherokee", faster than fuck, although the pianist is resisting the temptation to go there right away. Gotta be Max on drums? Not necessarily distinct, but kudos for hanging in there on that tempo! Max is on of the few who can hold that tempo that high and make it sound like as leidurly stoll. Is that Mingus? So....a Debut record? Couldn't tell you who, but those guys and that tempo....seriously badass. TRACK EIGHT - That tenor player....whoa....virtuosity AND inventiveness working hand in hand. Always pleasing! Oh yeah, taste as well, none of the Brecker-school forced "intensity". No idea who this is, but we got a winner here. TRACK NINE - "Chelsea Bridge", Osby or Coleman.''is that a recent Tyshawn Sorey record? If so, then that's Osby. I think I have it, and first listen was positive. Very focused and coherent, the form is intact and fluid at once, you can never NOT here the song. Wonderful! TRACK TEN - Unmistakably Paul Gonsalves. Unmistakably. Nuff said! TRACK ELEVEN - Unmistakably Walt Dickerson. Unmistakably. Nuff said! TRACK TWELVE - A bit somber, and maybe not the best thing to listen to while taking a break from baseball...but that's ok. A fun listen! Got any peanut M&Ms? 'chelseas Bridge", Osby or Coleman.