JSngry

Gotta disagree with you on that. Haynes w/Trane, although definitely not Trane With Elvin, was a still good thing in my book, and that's one of best of it.

Sorry, but unless there's evidence I've not yet heard, I think Max in the 40s was significantly more than just an "intellegent" follow-through on Klook.

Another thing to remember is that when Tony hit the scene, the climate was such that even if you picked one or two cats as your main source, you couldn't help but pick up on a lot of other things just by osmosis. It's not like you could just cop one cat's style, show up on a gig, do that one thing, and be lauded as a player. You had to bring a little something of your own, and it had to at once blend in and stand out the prevailing climate. The repercussions (no pun intended) of what Max had started (and Roy Haynes, distinct as he was, was coming straight out of Max, or at least walking the same general road) were still very much in the air. So some "influence" even if not direct or conscious (and I don't know one way or the other if it was or not) would be all but unavoidable.

Swiss Miss Captain Midnight Maria Muldair

No, not really. I don't think that Taylor met the music on its own terms nearly as head-on as Max did. I mean, w/Braxton & Cecil both, you can hear moments when it sounds like he's tiring them out!

I agree. As do I. but don't miss the one on

Nope. Philly.

A really "tight", controlled style. (In contrast to Elvin and Blakey.) Also, a real precision and attention to the sounds coming out of the drum kit. I probably haven't paid enough attention to Roy Haynes. Guy Yeah, if you listen to how Tony tuned his kit, it's much close to Roy than to Max. Plus, Roy had a tendency to cross bar lines that definitely implied the superimposition of tempos/time signatures that Tony got into so deeply. Too bad we don't have any earlier recordings of Alan Dawson (or do we?). That cat's an unsung hero, I think.

I could see your point (although I'd disagree with it) after, say, 1960 or so, maybe even 1956-ish in a very broad way, but dude, Max was the bebop drummer for my money. Klook might be the "grandfather", but Max broke the shit up like no other and was a true innovator. Everything that happened past that, well yeah, "absorption" might be apt to some extent, but what are the options once you innovate? Stay put forever? Fuck that. Destroy & rebuild from scratch? Yeah, but that's a risky gambit that fails far more often than not. What's left? Absotion, expansion, and growth? Hey, sounds like a plan to me. Now, as a bandleader, I'll agree that Max didn't really diversify too much (if any) after the early 70s. Those records are very dependent on energy instead of diversity to get their message across, and some do so better than others (although, I heard the quartet w/Pope in person in 1979, and it was intense in a way that none of the records by the same group were). But as a drummer, geez, who of his generation (or the demi-generation immediately following) could have played as effectively and as organically as he did w/Shepp, Braxton, & Taylor? Granted, here and there Klook dropped a few hints that he could have, maybe, and in Andrew Cyrille, you've got the exception that proves the rule, but the point is, once you'ver really truly innovated, either you follow through with the implications of the innovaation or else you just rest on them and let others do the work. I think Max definitely did the former, and if that amounts to "absorption", so be it. What he was absorbing was shit that was bouncing directly back from what he created in the first place.

Similarities? How so? Personally, I think you gotta look at Alan Dawson as a formative influence, on technique, if not necessarily style. That Boston thing was pretty "self-contained" as far as outside impact goes, but like all great "local scenes" of the era, distictive traits persisted and were passed on, if only subliminally. For that matter, if you go back beyond Dawson in Boston, you hit up against Roy Haynes, whose technique I also hear in Tony's. Beyond Haynes, I'm sure there's somebody. I just don't know who it would be.

Baby Face Nelson Oliver Nelson Harriet Hilliard

Actually, it was started with the best of itnentions - to provide a forum to ask those "basic" questions that a lot of jazz neophytes (and not so neophyte) might otherwise be too embarassed to ask for fear of being smacked down with the "DUH, you don't know that? Everybody knows that." thing. There had just been an instance or two of people acting ashamed/embarassed to ask what they called a "stupid question", and I thought that was too bad. Hell, if you don't know someting, ask! The only stupid questions are the ones not asked (or not thought through before asking). Immediately, the thread deteriorated beyond redemption. I'll not delete it, leaving it to stand as a testament to whatever it's a testament to.

It's an attempt to balance all the...

I've heard a few albums. Serious player in all regards, although not in the "open" vibe I'm looking for/feeling these days. But that's not his problem. Yeah, the cat can play and should be heard. Recommended.

My standing "joke" back in the day was that Windham Hill was ECM without the jazz...

Ditto Odyssey Of Iska.

I distinctly remember Hank's ECM album, No Room For Right Angles.

Does that mean that if I want to "interpret" standards that I need to invest in a buch of Original Cast Recordings? God, I hope not...

Here she is at STARS OF THE ZONE CONVENTION - The Sequel August 21 and 22, 2004 with her daughter Darva Conger (yes, THAT Darva Conger: http://www.twilightzonemuseum.com/conventi...04/floor/03.php

A rhetorical question, perhaps, which deserves an illustrative answer: George Adams was on record as very much not liking his ECM experience, from the sessions to the final product. He felt he was being asked to serve Eicher's vision, not his own.

Slinky, like jazz and whoknowswhatelse, might be one of those things that if you have to ask....

Kudos to the gritsville Postal Service!

Bayete Todd Cochrane made significant contributions to Iapetus, so he gets eternal love from me. But I got one of his Prestige sides, and it ain't so hot.

Freeman studied a bit w/Tristano at one point. How 'bout that?

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