JSngry

Yep.

Have HGTV put that on Selling New York so my wife can see it.

Yeah, I think I prefer the earlier coda to the later one,.

There has been talk that the original album was released somewhat Iacking In full contractual compliances......

Funny to read in the liners how Nelson said he wrote himself as lead alto on that date to "prove" that he could play lead alto. In today's environment, that might sound like primarily a personal challenge, but in that timeplace, no, that was a business move addressed at contractors, hey guys, call me, I can do that too. Still primarily working as a player at time, still hustling for work. He's been posthumously recognized as a workaholic as a writer, once the jobs got big and many, but here he is before that, looking to parlay a writing date into more playing work. He was, as they say, highly motivated, and his eyes were not on nightclubs and one-nighters. There were a few others looking to make those moves, but none of them were playing like that, and for darn sure none of them were inviting Eric Dolphy to come along.

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Cosby is always ok.Toughest piece of humanity ever, possibly.

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Wow, talk about not paying attention, I just now noticed that Wyands and Haynes are on Trane Whistle. Roy just kicks every time he plays, you'd think hesteady played big bands. And Jaws, you'd think he was the baddest mf to ever pick up a tenor...and don't ask me to refute the possibility, I don't care If he IS dead, not running taht particular risk. That's one of those records where It sounds like everybody was happy to be there doing exactly what they were there doing, and jeez, happy Jaws, happy Roy, happy big band, I'm gonna let somebody else complain about that, won't be me.

Seconded. Did Edwards use Nelson @Argo/Cadet other than for Fantabulous & the Lou Donaldson date?

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And for something completely different..NP: Shirley Scott's 1961 Blue Seven on Prestige, with a band of Nelson, Joe Newman, George Tucker, & Roy Brooks. Oliver (or Ollie, as liner notes writers seemed to enjoy calling him) is on a veritable Dexter Gordon trip here, even while making those harmonic sidesteps that are at once predictable and arresting. Also interesting in retrospect to know that the relationships with both Scott & New an would continue, albeit under total different dynamics...another thing of interest in tracing Nelson's Prestige work, how many relationships would continue, there was nothing random about this guy, apparently. Blessing andcurse, right? Sidenote about this one record - although George Tucker is present and magnificent, there is no bassist on "Don't Worry Bout It Baby, Here I Am". This would be a rarity of occurrence for Scott at this time, a bass-less track, correct? Wonder if the choice was logistical or negotiated or just what, exactly?

Colby. http://mlb.mlb.com/r/article?ymd=20160520&content_id=179264246&vkey=news_tex&c_id=tex

Lem's Beat by Lee Winchester...that's not a "great record" but Oliver's playing at times has a Shorter-esque element of wtf? moments that are over almost as soon as they begin, lines veering off course and then coming right back in...been playing the record all morning just for those moments. That, and to figure out what the hell they were up again to assemble "Your Last Chance"...good lord! Also some interesting real-time piano by Billy Brown on the two pieces he's on. Reading between the lines of Chris Albertson's liners, perhaps Mr. Brown was tardy to the date?

Oh shit.... I was thinking of Nelson on Avalon & thinking It was Undecided...memory needs refreshing, order placed .

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Would've been nice if an alternate take or two had survived

He had a pretty...disparate career, and I mean that as a statement of respect for both skills and instinct. A true durvivor, maybe not an oversized one, but a true ine. RIP.

YEAH!

Well, yeah, Trane was Trane. But Trane was not, and is not, the only somebody who had something going on. He was a fire starter, not a fire extinguisher. Nelson heard Trane, how could you not, but he definitely was playing with fire, his own fire. His notions of improvisational structure, how you arc a solo, hell, even what you based a solo on, were very un-Trane like, even if they included obvious use of some elements of Trane's building blocks. Hearing him play at length, it's striking about jazz (or life, essentially) how many different premises, and then conclusions, could be had from a common core of starting points. Also fascinating to me how Nelson could speak naturally with so many accents, as in speech, in a single solo, sometimes in a single phrase. A lot of people would give you shades of one voice, this guy would sometimes do a one act play with multiple chsracters, or at lrast give the impression that that was a quite viable notion thst was on its way. He was, at this point, one of the more "macro" thinking improvisors on the scene. Maybe writing was ultimstely the more/most/only sustainable outlet for these impulses, but at this point in time, playing was what was immediately there, so playing was what he did. As for the disographical matter, the LPs transferred over to CD then, correct? In order to hear the entire session you have to buy both, or at least combine the msterial from both? This is where those Andoorican things take the money and run...

What did you have to eat? Anything celebratory?

Speaking of Prestige 7th 2-fers...has the session with Red Garland been compiled on CD? I'm suddenly remembering an incendiary Nelson soloon "Undecided". Also having a good time reading the original liner notes. By the time I got to him, Nelson was commonly known as a writer who occasionally played. On these records, mention is made of his writing ambitions, but the focus of the notes is on his unique playing. That, and Oliver gets quoted pretty liberally about his play in and his formative influences, which over the course of a few album's notes, are revealed to include Coltrane, Bartok, Hodges, and Elliot Carter, a.o. Not just the names, but also a bit of the reasons why. How do you not love a guy who has no problem reconciling Johnny Hodges and Elliot Carter...and apparently as part of the process makes records with both Eric Dolph and King Curtis?

I support this suggestion.

Yeah... PM sent on that Braxton.