JSngry

Ronnie Spector Nedra Talley Elizabeth Arden

Ha Ha

Slippy Slabberwocky Dr. Harold J. Numbers Pops Poopadeaux

Substitute, say, Arturo Sandoval for Lester and we can agree.

Not worth the effort, trust me.

Well, yes and no, I think. Interstellar Space is extremely mathematical in it's constructions, and at the same time equally transcendant in its spirit. I've always felt that this was Trane's "Moses On The Mountaintop" moment, his one glimpse of the Promised Land that he had been busting his ass all those years to get to. So any "other way" subconsciously or otherwise probably involved what actually happened - leaving the building. I do believe the stories of him having premonitions of his impending demise. What I don't know is how seriously he took them or how they affected his playing at any given time. But the story as it played out is too perfect a "cosmic tale" to not give at least fleeting contemplation to the possibility that he knew his time was up and somehow willed himself into (or was blessed with, if you wanna go there with it...) one moment of total unity before succumbing to his fate.

Upon further reflection in the pursuit of succinctuality, what I think Ornette was saying was that he felt that Trane got wrapped up in pursuing his (Trane's) particular math-based methadology to a degree that he (Ornette) felt to be less than ideal.

I know who Clem is in the literal name/address sense, and kind of know who he "is" otherwise, enough to say with confidence that the man is not to be taken frivolously. Not at all. Disagreements are no doubt there to be had, but not dismissals. No sir...

I think that what Ornette meant about Trane is that it was his opinion that Trane got too hung up in the math of it all, at the at least partial expense of what you migh call his "native humanity". I can see the point, because part of Trane's legacy is that he closed the door when he left the room. Locked it, even. Countless players over the last 40 years have tried to find themselves within Trane's methodologies, to go past him by going through him, and so far ain't nobody made it, or even come close. It could be argued that a "style" that was primarily based on "native humanity" would allow at least a few people to get through it and on into someplace else. But it ain't happened. You can say that that's because it's all being based on imitation, "misunderstanding" or whatever, and you may be right. But still... OTOH, there's no denying the "native humanity" of the passion with which Trane approached and delivered his work. Even if you choose to view his musical legacy as a series of elaborate, final constructs that are ultimately a dead end for anybody/everybody else, there's no denying the very real human inspiration that the guy provides all who strive to learn and grow. On that level too, he may be "unapproachable", but that's "our" fault, not his. As to how I feel about it all, hell, it all depends. I never even considered going the Trane route, because I never saw where it would lead me other than to frustration. Not so Lester Young, Sonny Rollins or Albert Ayler. But geez, I love the cat and his music at least as much as anybody else, and I continue to do so to this day. One thing I decided long ago was that reading Ornette quotes is not a task in which literalism is a virtue. Lots of lines to read between, and plenty of "interpretation" needed. Nothing here to dissuade me of that.

Well, it's kinda like saying (as I used to) that Stan Kenton was the white Woody Herman...

How they were playing bebop in the late '60s, w/ real long versions of the tunes w/ real long solos, real fast w a lot of notes, espically in regards to the pianos, like in europe, w/ '68 hank or '69 dexter or late period don byas.

Now you see me...

Ask Abbey Lincoln.

Same here. Always made it a point to hear anything I came across that had him on it and was never disappointed.

I was luck enough to find it ca. 1972 at the Longview, Tx Treaure City as part of the great Libety/UA/whoever catalog purge of a few years earlier, and have lived with this badboy ever since. It doesn't necessarily immediately jump out at you, but trust me - there's some serious skippin', dippin', bumpin', & humpin' going on with the collective rhythms on this one, not the least because of Gilmore.

I agree completely. The Hill/Davis/Chambers trio was every bit as unpredictable/stimulating as the more "recognized" Byard/Davis/Dawson trio. And that's why I like ANDREW!!! so much - Gilmore gets right in there with them and mixes it up so nicely.

I've played "Don't Bother Me" as an Ayler-esque dirge & have found it quite to my liking that way.

That's probably my favorite Hill BN. Gilmore's fragmentariness locks in w/HillDavisChambers' collective same to create a series of bumps and dives that's like dancing on a roller coaster.

Those strings sound synthesized ; maybe an ARP String Ensemble Synth ?? Definitely.

Rainy Day Women Gail Storm Suzanne Cloud

The worst, Lon, not the best...

I'm beginning to think I should be... But hey - check out "Legs" & tell me if that alone ain't worth the cost of admission.

http://www.ubiquityrecords.com/lh048.html

Well. Aren't you the ungrateful one. OOPS! I take no credit whatsoever! Nah man, I saw a whole generation of guys turn into clueless pseudo "sensitive" types thanks to Elton, only to have their hormonal chain simultaneously yanked by Grand Funk. Garbage on both ends, and it showed as the years passed. You can blame the worst of 1970s Heartland American Young White Male Behavior of the 70s (which is to say almost of of it) almost entirely on Elton John & Grand Funk Railroad. And if there's anything left over, add Gary Muledeer to the list.

Imagine some local Bay area dude who gets a notion to make some records with a band that sound like RIOT-era Sly demoing really cool song skeletons that sound like Willie Mitchell sketches with lyrics like O.V. Wright might have written in a drunken/depressed rage of love, sung in a voice that combines the most ethereal elements of Al Green & Sylvester, with only a fraction of the finesse of either. Or put another way - There's A Riot Going On coming from the guys on the corner (the guys who are always on the corner...) instead of the guys on the stage. Yeah, plenty to be suspicious about from a "technical" standpoint. But factor in that the singer is really, REALLY, REALLY into the emotional/spiritual zone that it takes to overcome all that, to put this shit over anyways, and then what do you have? How you answer that question will say a lot about you and your relationship to music (no worng answers), not the least of which is whether or not you'll want to hear this album. But if you think you might, I'm here to encourage you to do so. Strongly.