JSngry

Archie Shepp - There's A Trumpet In My Soul. Not as big of an ensemble, but the shitty recording quality blurs it to where you'll never know. Plus, the album goes through those moods like TBS&TSL does, or something thereabouts.

no. But ?????????????????????????????

Bobby Durham, when he gets that rim thing going. Put him together with Oscar Peterson, and I can NOT hang.

You guys really surprise me sometimes. I mean, everybody's heard of Nance-y Sinatra, DUH!

Harligen Hombre?

No, not Stanley. Get the singer, and the odds are near 100% that you get the tenorist. Maybe the dog was acting up during this one, because this is one I figured that you'd nail!

There's always the possibility that Tolliver is folding his operation...

Well, yeah. I mean, how many of Wayne's albums sound like Miles albums from the same period? How many of Herbie's albums? Ron's? Tony's? Chick's? Holland's? Jack's? Trane's? Red's? PC's? Philly's? Sonny Fortune's? And so on... And how many of those guys went on to lead bands that sounded like Miles' bands? Hell, a simple comparison of how Miles played "In A Silent Way" with how Zawinul played it ought to be proof enough that Miles not only took from others, but that he molded what he took into something uniquely his own, Ain't nothing cheap (or easy) about that. To confuse the true genius of leadership with the mere explotation of hired hands is so fundamentally wrong as to be both sad and frightening. Do they actually let people who think like that loose in society?

Have you heard him on those Eddie Harris Atlantic sides?

Is this the one you're thinking about? http://kleene.ss.uci.edu/~rmay/Bluenote.html

Was that when he was going by the name of "Irviog Mills"?

Is that "Ugh!" for the song, or for not being able to remember new songs? You're not alone either way, it seems to me!

Now, that's a distinct possibility!

But...I've already GOT 168 CDs...

Thornell Scwartz Clifford Thornton Fred Rose

Here's hoping that it's going to be a collection of unreleased live material ala the Liebman/Beirach.

That photo does absolutely nothing to dissuade me of my initial impression of him.

If you're in the Dallas area, you can find more than those two Xanaduzies...

That's a beautiful reaction! I bought this record when I was like, 16 or 17, and that's exactly how it grabbed me the first time. Now, it's got a very special place in my heart and head. But you've not heard the singer before unless you've heard ths album before. Trust me!

Upon relisten, I gotta say that when Tardy has to follow Ambrose, he bumps it up a notch or two and hangs quite nicely. Turner too, although not as nicely. But jesus, why does it take a threatened ass-whoopin' to get them to bring it on?

Charles Tolliver? Guess I missed the news. What are you talking about?

Ok, so I'm listening to Steeplechase Jam Session Volume 48818989881261 or wahtever the hell number it is, the one with the three-tenor front line of Mark Turner, Greg Tardy, and this cat I've never heard of, Ari Ambrose. Well, it's a snoozefest so far, what with the virtuostic constrictions of Turner & Tardy constricted even more by the bodyless digital recording quality, when all-of-a-sudden this RUDE-ass tenor starts playing. He's still doing the New York squeedledeedle thing, but unlike Tardy & Turner, that's not all he's doing, and on top of that, when he does do it, he does it like he's just come in off the street reeking of cheap but plentiful booze and ill-gotten pussy. Every tune was the same - Turner & Tardy are soundling like they're dressed in tuxes waiting to take the Jazz Principal's daughter to the prom, dance a waltz or two with her, and get her home on time. A few minutes early, most likely. And Ambrose sounds like he's just gonna hang out in the alley behind her house and get loaded until they bring her home and then he'll take her out and show her a REAL good time. Who IS this motherfucker? As always, thanks in advance!

Just got to hear it. Kinda too "straight-line"-y in the soloing for me to enjoy at length, but there's no denying the fire and sincerity. Waldren bears some Kenny Garrett in his sound and conception, but as a starting point, not as a goal. Greene bugs me on this one, not enough variety in any aspect of his playing. Pretty sure I've heard him elsewhere to better effect, but not certain. Archer is the hero of the date for me. While everybody else is riding the ride, he quietly and assuredly is making sure that the thing stays on its tracks. Some very solid playing on his part, I'd like to hear more things that he's on to check him out. Strickalnd seems to feel that Ralph Peterson is too subtle, and seems hellbent on showing him the error of his ways. Hey, I was young once, too... Glad to see that younger cats like this are getting an opprotunity to make records and air it out w/o compromise. The whole thing's got that "New York Claustrophobia" vibe to it that's been a part of so much jazz since the late-60s, but hey, that's where they are, and that's how they're living, so that's how they should play. Not so sure that a change of scenery wouldn't be for the better for all (except Archer), but whatcha' gonna do 'bout that, huh?

Finally got to hear this, and I like it more than Mike. The opening ballad is frakin' gorgeous, and Carter shows real discipline and maturity in the deployment of his "tricks", using them to enhance the ballad mood rather than trample it. Don't know that that would have been the case a few years ago. "Akong Came Betty" got me to thinkng that perhaps Carter is evolving into, not the Illinois Jacquet of his day, but the one-horn-at-a-time Roland Kirk. His playing on this is just totally off the hook, sure, and it could be called "gimmicky". But in spite of all that, there's a real musicality at its base, and like Kirk in his day, whether you hear the music first or the gimmickry is going to vary from person to person. The rest of the album kinda rambles, but there's plenty of good moments within the rambling, I think. I dig Ulmer quite a bit, both instrumentally and vocally, so the "Red Rooster" thing was no problem for me. The bari stuff w/Bluiett could've benefited from some self-editing, but this is a live set, after all, and I bet the vibe was good in the room while it was happening. As for "I Believe...", hey, why not? Organ jazz and "neighborhood favorites" go together like han and eggs. All told, I'd give this album a solid 3.5 stars. Tighter production choices could've made this a better, tighter presentation, but that's true of a lot of albums of the last 25 or so years, truthfully. Far from "essential", but enough pleasure to be had from beginning to end to make it enjoyable overall. Carter is maturing, and this groups sounds like it would be a gas to hear live in a neighborhood lounge, if there were such things any more.

Thanks, wasn't aware of that.