JSngry

Oh, so Pi is the one seeking mainstream validation, eh? Can't wait to hear that Mike Ladd/Kanye joint. Welllll....that might actually be interesting, although not necessarily healthy...

That was a voice of the times, to be sure...and he had a career - and hits - past The Drifters years. RIP, and indelible memories.

I like how on the back of the old records he'd have what key each song was in, stressed very strongly as part of the art design. What that was all about, I don't know, if I need to know they key, I can get that, and if I don't, then...what, exactly? But it was one of those "so goofy it's charming" type things. Blues in E

Joking about the Spanish Fantail, but serious as to what it was. That's one I'd see on all the Roulette inner sleeves of the 70s (the Echoes Of An Era series ran pretty good for pretty long, remember), that one & Sonny Stitt's Stardust.

My experience/impressions as well, exactly. Bass is fully audible, very present, just not very "bass"y. sounds like it might have been a cassette recording, actually/possibly, or a slower-speed reel. Band balance is excellent, just not "unlimited frequency spectrum". No matter, a wonderful document, and exemplary order fulfillment. Buy with confidence! [Edit to add that after further listening, definitely not a cassette recording. And also that this is one helluva record, period.] [Further edited to further add, ok, I see, "recorded on 4 track reel to reel by Pete Welding"]

When was the last time you read anything in the NYT that was not a publicity piece for something. either a gig or a book or a record or a party or SOMETHING? These guys do not - for reasons I would not claim to know - do not just wake up one day and say, hmmmm....Don Byas was one helluva tenor player, let me do a column about Don Byas. Now, if somebody has a book coming out about Don Byas, or if some guy is giving a lecture about Don Byas, or if somebody has discovered a treasure trove of heretofore unknown ANYTHING about Don Byas and wants the world to know about it, then there will be that article that Don Byas was one helluva tenor player. It is, after all, a news paper, not a collection of gentle musings. To what extent tail wags dog, I don't know, but I do find that I'm never disappointed to just assume that to be so, and wake me when I'm wrong.

I've been interested in Coleman for decades now. The early work was more promise than actuality, but right towards the end of his RCA run, things started to feel like they had always implied, and from there, all good. I don't expect to see Steve Coleman doing a Tribute To Dick Haymes any time soon, or anything like that, nor do I see him moving towards the center. The center, however, might - might - be eyeing moving towards him. Can't help that. People who move to the mainstream and people who have the mainstream move to them are not the same people. There's lots of old stories, and one of them is that people root for their underdogs to get heard by more people, and them, if/when that happens, they feel betrayed. Some weird stuff, that is, and "jazz fans" are typically/historically amongst the worst offenders. Sometimes I think that people love to champion the underdog because that's how they get people to listen, not to the artist, but to THEM. And then, when everybody's listening to their heroes, what have THEY got to soapbox about? That's some weird shit to see happen, and it's happened forever, it seem. As far as Iyler's comment goes, on the surface, yes, hyperbolic BS. But also...not without some truth either. Coleman was the one guy who has hung in and through the whole "M-Base" marketing ill-advisement to really believe in that music and the principles, not just believe in it, but invest in it, grow it, live it, and yes, it is different, it's sound, it's not just eccentricisms, it's a holistic concept of music, and yes, I hear the influence slowly getting out of the enforced shadows of the putrid Die Hard Traditionalist Machine, more and more fresher new music sounds more like Steve Coleman than it does John Coltrane, and how is that bad or wrong? Trane's been dead for damn near a half-century now, his shit's been codified beyond belief, even the last stuff, and the only challenge left to it is to do that re-creational homework. That's a whole helluva lot of work, but it ends up where it ends up. Coleman came along and started introducing all kinds of new slants on meter, harmony, intervals, layering, just a whole bunch of new ideas. I can easily see where Iyler and others looked at the options and figured, hey Coltrane, yes, God In His Heaven, for sure, but Steve Coleman, Man On The Streets RIGHT NOW, and not yet answering all his own questions, let's go here and not there. I don't know if he was the only one who was initial creative focus of that "movement", but dammmit, he's sure been the only one that acted like he was fully committed to it from jump. Ever since the first JMT records, too many people have been listening to this stuff and thinking it simply "quirky" or "mathematical" or "fusion-" or "jazzy hip-hop", and yes, it has been of of those things, but not JUST those things. There has been an overriding vision at work, and that vision continues to grow and deepen. And now, it seems, people might be starting to see something there. What they think that is, who knows, and i it's the Mainstream Moving In, then it's a foregone conclusion that what they will convince themselves that what they are seeing validates THEM, because that's how that world rolls. But I'm thinking that Steve Coleman will be happy to take whatever money starts moving in, give the face time to whoever needs it, and go right back to writing music based on knee joints and stuff like that. Let's face it - most people, artists and fans alike, are followers, and it's easy to play "leader" when what you're really doing is being an outstanding exponent of the advanced status quo. REAL leaders are motherfuckers like Steve Coleman who have a thing, stick with it because they know they're right, and keep developing that thing while they get looked at all funny and shit. And then one day, the status quo wakes up and needs a new thrill because they start seeing the end of their road and UH oh, we need a new contractor on this job, this road's about done all it can do an we NEED our road, you know, and then, them quirky motherfuckers start looking like Legit Heroes after all, especially if they're not dead yet. Now, the pussies amongst these new contractors will take the money and then ask them how they want their road to go, I'm here for you, and the real heroes will take the money and keep building the road THEY were building and if anybody gets queasy, their answer will be, hey, you gave me money, you wanted a road, here it is. Use it or get the fuck off it. Well, we'll take your money away, to which the answer is, take it then, I was building this road before I had your money and I can keep building it without it. I have no reason to believe that Steve Coleman will ever be anything other than the latter. And hey - Roscoe Mitchell GIANTASS TRUE HERO, and let's see how many AACM At 52 articles get written. But they're getting written now, and that means mo' money mo' money mo' money, and does that make me sad or suspicious? Uh....no.

Majority Whip Whipped Husband Herb Alpert (and other delights)

Validation schmalidation, work means a better chance at survival, and mainstream press increases the possibility of work. And somebody had to do the work to get this gig, and this piece. I doubt very seriously that Ruth Gordon or whoever just woke up one day and said, oh, let's book Steve Coleman. Or that the NYT opened up the blinds and saw the sun shining with Steve Coleman's face in it. No, Steve Coleman's got somebody doing some work on his behalf because Steve Coleman is ready for that "career move", and this is what that looks like. It's really not complicated.

Not sure how much the whole "indefatigable outlier in jazz, engaged in esoteric but vital work" is meant as a come-on to the hipsters, but, ok, come on then. There's plenty of meat to be had. http://www.nytimes.com/2015/04/30/arts/music/steve-coleman-a-jazz-outlier-rides-a-wave-of-acclaim.html?_r=0

One Of The Judds Mother, Juggs, and Speed Ruste Juxx and/or Basement Jaxx, take your pick

Not seeing Fantail on there..have never heard it either, was it new material or jsut a compilation of previous Roulette releases? If it's in Spanish, will I still be able to understand it?

Just a reminder that linking directly to bootlegs is against forum rules, although discussing such items and providing indirect suggestions about where to find them is, if not exactly, encouraged, generally tolerated. Because of that, I've had to remove your link to the ROIO site. Thank you for, hopefully, understanding.

The Sam Morrison band rises again to yield a tantalizing glimpse into a future that never got around to happening until years later

Just ordered from Amazon...does this affect your royalty payment as opposed to ordering directly from the publisher? (he asks AFTER placing the order, DOH)

Well hell, then. The Tony thing I was pretty sure of. So much for that idea.

I never left "drinking", I just left drinking, if you know what I mean. Alcohol (and other drugs) is not always good for you, but the state of mind it produces...that's a whole 'nother thing! But let's get down to BFTisitcs here - is that a Tony Williams cut on #5?

Nothing is more irritating than misplaced impotency.

See, Mingus would have scared the shit out of everybody, maybe broken something or somebody, or at least people would have been cowering for fear of it, and then taken the stand to play it all out, people wouldn't know what to do except get the fuck out of Mingus' way, don't fuck with Mingus, and DAMN did you hear Mingus? This guy, he don't play a note, don't scare nobody, just gets jeered at by people who sure don't sound like they got any room to be jeering anybody, then gets himself arrested by campus police, and the show goes on, everybody irked-at-best, nobody scared, situation left exactly the way it was found.

I've found errors on BSN before (and reported them as per their request, and last time I looked, there they still were, many years later), and this is the first time I've heard of Mainstream material being reissued on Time, but who knows, the record business is crazy, or was, when there was one. "Moribund" is not exactly correct, though. They remained operational and did release product straight through, although the focus was away from jazz pretty much altogether, as remained the case for the first releases with that Unipack design, which, also remember, did not go to the white covers for a little bit. The Time cover of the Ludwig does not at all look like earlier Time covers, so I can believe that it was a reissue of a Mainstream release, but still...not sure why that happened. But it did. Maybe they were marketing it to the Dick Hyman market or some such. And let's not forget that Ted Nugent & The Amboy Dukes were also on Mainstream. If only we had known then what we know now! I bought a copy of the Big Brother album in the early 70s, waiting for it to go crazymad "collectable", and by 1982 or so, it hadn't so I ditched it.

Mingus Speaks. One of those books which might get irritating while in progress, but which leaves a good feeling behind once finished and consider as whole, at least I found it to be like that.

This might be the record by which to ponder that! But seriously... "Muldrow" is not a common last name that I know of...is Cornell Muldrow related to Ronald Muldrow, guitarist with Eddie Harris and father of Georgia Anne Muldrow? so...Redd Foxx is definitley NOT either Joe Williams or Sam Butera, and George Benson...got better with the passage of time! But indeed, Page, WHOA!

How foolish I was to have doubted your knowledge when it comes to this area ... Pretty sure that the Time label came first, then Mainstream. Time had all that avant-garde classical stuff like Gazzelloni & Cathy Berberian, plus the two Kenny Dorham albums, Max Roach, Sonny Clark, Stanley Turrentine, some Marian McPartland/etc. Then came Mainstream, which morphed into the 70s with a whole new look and sound. Mainstream reissued some, but by no means all of the Time catalog. I've been looking for some of the classical stuff lately and finding it on both Time & Mainstream, but that jazz stuff...only on Time that I've found to this point...Time & Bainbridge, much later. Funny thing about this one is that I bought the Mainstream LP off Da' Bastids a year or so ago and still haven't listened to it yet. Who knew?

Round Two (It!) TRACK ONE - Very Dexter-ish tenor, but so many were. Oh, it's live...there goes my Bill Leslie guess, then. Sounds like they mean it. It is, however, a bit jarring to hear that modern-sounding applause pop up in the middle of what is going to great pains to recreate all kinds of "vintage" sounds. Stupid audience! TRACK TWO - Sure sounds like Joe Dukes, therefore, McDuff? I duuno, though, sounds like maybe a bit of odd-metery, trickery on the head, at least some accent shifting. Sure sounds like a McDuff record, although the whole-tone thing...not so much. But still and all...McDuff. TRACK THREE - As long as there's clubs where people get together to feel good to things like this, there will be things like this. And once there's not, there will still be things like this, because hope springs eternal. 20 years ago, I'd have gotten fullfrontal with this, 10 years ago, I'd pay to watch. Today...hey, i knwo that club's still there...well, maybe not THERE there, real estate is funny. But there SOMEWHERE, becuase like I said, hope springs eternal. TRACK FOUR - That's the damndest thing I ever heard, Red Holloway doing a spot-on Eddie Harris cop, or the other way around! Or somebody who's a damn good mimic with enough sense of the real life history of the music's peoples to not fuck this up, which would really, REALLY piss me off, so....Branford? But - as soon as it becomes apparent that it is a mimic-er...thin ice not too heavily skated. That trumpet player, now, he/she IS starting to piss me off, not too far from Al Hirt, and Al Hirt, yeah, great player, beautiful cat yeahyeahyeah, but so NOT needed getting all up in THIS. It seems the longer it goes, the more pissed I'm getting...that piano player...the time on this bag calls for a very specific space inside the beat, and whoever it is is playing like they think they know where it is rather than actually being able to go there, much less living there. Or maybe these new PC speaker aren't broken in yet? It seems to be getting better as it goes along, but maybe I'm just succumbing...and what's up with that tambourine player...jeesus, if this is really what it feels like today, that real time is THIS rigid, even for a freakin' TAMBORING player, then...not sure I'm down with all of that. Second time through, even the tenor player is pissing me off...wish I still drank! What do you get when you cross Listen Here with Cold Duck Time, Listen Here, You Limp Duck Motherfucker? That I would drink! TRACK FIVE - Sounds like a late-70s/Early-80s thing, and in a good way. Are those the odd LP pops I hear? So, yes to that time frame? And that melody, is really familiar...is this some recasting of a familiar pop tune? That opening motif, la-da-da-da-DA-daaa...I swear that rings a bell, not "Some Enchanted Evening", something more current for the times...and Keith Jarrett on bass! I like this more than the solo piano from the first half of the BFT, because although a lot of the general notions of feel and such are similar, this just sounds more fully absorbed and reflected than the solo piece did, I hear a lot more pacing going on here. Tell you what though - listen to what that drummer's playing and then listen to all that "bash" being pulled waaaaaay down into the mix, that is NOT what music sounds like! Columbia was one of the worse offenders in that regard, jeez, Eddie Gladden on Manhattan Symphonie and Eddie Gladden live..two different realities...hey, is this a Tony Williams record? That sounds like Tony Williams, drumming and writing, actually. Wallace Roney, Bill Pierce, Mulgrew Miller? I like it, and all the more reason to NOT pull the drums so far down in the mix. TRACK SIX - This sugar is TOO refined, sweets from the forest flower. That's almost GOT to be Harold Land, although it takes a while for that to sink in, oddly...this isn't from Mapenzi, is it? That's not Blue that I can tell...sounds too "studied" to be Blue...oh well, i like it for the tenor. TRACK SEVEN - Gene Speaks? TRACK EIGHT - Geez, I just looked at my WMP & it's giving Dan Gould composer credits on this one. Not knowingly having heard any of Mr. Gould's work, I am at a complete loss. TRACK NINE - My name is NOT Jack, nor would I care to admit to being balled, at least not in a family forum such as this, but, ok, THIS swings like mofo! TRACK TEN - Smack Dab'll Do Ya', they'll love for you to run your fingers through their hair, is that how it goes? Gene or not, this cat has a STRONG left hand, let's hear it for that TRACK ELEVEN - Reminds me of my parole hearing...JK...oh shit, that's "Just A Closer Walk With Thee", not "Please Release Me"...oops. Ok, THE REAL Red Holloway here, Sweets gene, you cna Google it and fin it easily as long as you don't look for "Please Release Me". Thanks, Dan, might have had more less-favorable reactions on this part than the first, but hen again, it's getting, late, I'm getting old, and we're all out of whiskey. STILL fun!

Been without PC speakers until today, so, with the usual thanks and disclaimers firmly in place, let's get at least half of this done! TRACK ONE - At first I was thinking later Horace Silver, then maybe Cedar Walton as far as composer,but no. and that's gotta be Bill Hardman. The tenor player sounds like a weirdly miked/EQ-ed Clifford Jordan, but THAT weird, don't think so. The tone of the bari sure sounds like Ronnie Cuber, but the chops seem down, whether by restraint or "just one of those things" I don't know I really like the drummer, no, LOVE the drummer, that's teh way Eddie Gladden played with Dexter the one time I saw the. LOVE me some splishy-slpashy Eddie Gladden. So, deducing Eddie Gladden/Bill Hardman/Ronnie Cuber together, and this composition's definite quirkiness...Mickey Tucker on Xanadu? Lots of personality in this one, yeah. TRACK TWO - Should be Kenny Burrell, if it's not, then who cares? Well, the further it gets into it, I might. Sounds like an Ellington riff, not "Love You Madly" but born of the same loinage, if perhaps not seed. Oh, but/so it is live, and Burrell made some heavy live trio sides, but this would be one that I do not know if it is indeed one of them. I caught that "Tender Trap" quote coming out of the bass solo, ah-HA! Not relevant, probably, but there it is. I don't know, very competent, expert, really playing, and what it might lack in immediate heat is at least equally compensated for by the ineffable You Think It's So Easy, YOU Do It! quality. Still thinking it should be Burrell, even if it's not, because Burrell did a live trio version of "Second Balcony Jump" on Muse back in the day, that is pretty much the ne plus ultra of this type of thing for me. However, is that Ray Brown? But there are fleeting moments when this person gets right up on the beat in a way that Burrell never would, can run but can't hide, etc. TRACK THREE - Not feeling this one, sorry...the math is too obvious, and the touch too Bill Evans-y for me in the quiet moments and too generically HerbieChickMcCoy for the rest of of it at this time. Whoever it is sure can play, though. Perhaps all the devices are meant to be the point, though. In which case, point missed here, my bad, although, hey, wtf, that's an over Jarret-ism that "country" lick there, please don't do that again, anybody. I hope this is a young-ish pianist who's still at the point of mastering the techniques in search of a personal voice. If that's the case, ok. TRACK FOUR - Late (I'm guessing, because this is a bit low-key compared to them old days when just one note would immediately stiffen everything you had and then go from there) Arnette, chanelling Buddy Tate (if you've not already, you'll want to hear the Newport/New York Jam Session Buddy Tate solo on this tune) & Illinois. I'm kind of of the mind that if you can't warm to Arnette then you have some kind of latent soiciopathic gene buried inside and you should just get the hell out/off of this plane before people get hurt. Nothing personal, whoever you might be, just sayin'. TRACK FIVE - Wanted to bite on Ben, but the more it went, the more it sounded like Harold Ashby. It pays to listen to Ellington record..ALL of em. You'll always hear players with distinct voices, even if it's not immediately obvious. TRACK SIX - I'd like to phone a friend and buy a Plas Johnson? I love that bari thing, that was hot for a quick minutes there, eh? Bari riffing all the way behind the tenor and doing that half-step lead into the bridge chords, I'm a sucker for that shit, even when it's done hokily, which it is not here. And geez, those old guys could just honk ALL over the horn, didn't matter what octave of the horn it was or what the fingering was, if it was a sound coming out of the horn, those guys could honk it. I love that shit. Just let me make sure, this isn't Red Prysick, is it? Some things jsut sound too Plas-y, but I don't get much around anymore. TRACK SEVEN - But...I AM sitting down! I've heard so many damn versions of this, is the original, Phil Upchurch, or an answer record therefrom? I hope this is from a 45, I almost think it has to be, because I don't think they mastered LPs that damn HOT...I hope to someday get into 45s like some people are into 78s, and not for the rarities, but just because they mastered 45s to cut like a knife in jukeboxes and on car radios. Listen to that B3, play it loud on cheap speakers and tell me that you feel cheated. Not gonna happen. NOT gonna happen. TRACK EIGHT - Dammit, that's Joe Williams? I know he did some early sides in this vein, might even have some, but I'm not gonna remember that as far as remembering Joe Williams! Two chorus R&B tenor solos are damn near always better. However, let me listen a little bit closer to that vocal,, is that Sam Butera? Sam Butera will fool you sometimes, just when you think he's The Inevitable Hokester", NO! Sam Butera was no joke, although he often was a jokester...definitely NOT a Hokester. Not the same thing. TRACK NINE - Shoulda Wooda Cudda. Ray Charles, Si!, whoever this is...just don't see it. Sounds like an RCA record, sounds like a kid. Beyond that, I'll not guess. Not feeling that drummer, though. And the guitar plays ALL the way through...not a good production choice, I think, just unfocuses everything, it's cool when it works, but this just sounds like a raw band track with a singer overdubbed in no more than two takes. And really, who'd that drummer have to blow to get the date? Sorry to be so crude about it, but...really. TRACK TEN - Is this British? And/or is that Yusef on tenor? Either way, I'm good with this. Trumpeter still learning the book, or OOPS, hey shit happens, glad this isn't being recorded! This was a good'un Dan. Looking forward to getting to Part 2 either tonight or tomorrow, good lord willing and the Creek don't rise.