JSngry

They're not universally loved, but the Black Lion/1201/whatever 1963 dates from Montmartre show Byas playing very assertively and non-sentimentally, as does the 1961 Columbia date w/Bud Powell, A Tribute To Cannonball. There are those who find this phase of Byas' career less than satisfying, and I can see their point quite well. But still, the man was firing on all cylinders creatively and technically, and if he sometimes sounds as if he's trying a tad too hard to be "modern", it's still some hellaceous tenor playing nevertheless. I'd not be without it, just as I would not be without Byas' earlier work. Don Byas was BAAAAD! Also in much the same vein, but on LP only, at least in the US, to the best of my knowledge, are Americans In Europe on Impulse!. which is rougly contiguous to the aforemetnioned Columbia date, and Verve's Jazz At The Philharmonic In Europe where Byas goes head-to-head with Coleman Hawkins & Stan Getz. The latter in particular exemplifies, neigh, veritably defines, the phrase "no bullshit"!

Cool! Safe trip, and much happiness.

Did you leave a forwarding address so your BFT will eventually get to you?

The title cut alone will be worth the cost of admission. Everything else is just gravy.

That's a GOOD'un!

The only other Jazz Casual interview that I remember seeing was with Sonny Rollins, and it was no great shakes either.

Recieved via e-mail: Dear Friends: Recently, I taped my next one-hour show for the "Jazz From the Archives" series. Presented by the Institute of Jazz Studies, the series runs every Sunday on WBGO-FM (88.3). In the early 1970s, Marc Copland (b. 1948) was one of New York City's most promising young jazz saxophonists. (An album he recorded as a leader received 5 stars in DownBeat magazine.) But then an extraordinary thing happened: Copland decided that his real instrument was the piano. So he left New York, settled in Washington, D.C., and developed his skills. By the time he moved back to New York in the early '80s, he had become a much-admired pianist, with a touch and harmonic concept that were very personal. His reputation has grown steadily in the past two decades. We'll hear Copland the pianist in a variety of recordings with bassists Gary Peacock and Drew Gress, drummer Billy Hart, singer Ethel Ennis, saxophonist Dave Liebman, and others. The show will air this Sunday, July 10, from 11 p.m. to midnight, Eastern Daylight Time. NOTE: If you live outside the New York City metropolitan area, WBGO also broadcasts on the Internet at www.wbgo.org. Best, Bill Kirchner www.jazzsuite.com

Mostly "Soul Jazz" of a very gritty, late-60s Chicago organ-band quality. I dig it.

We want the Kitty!

July 3 have come and gone, so here's the final list of participants, and who's going to be sending them their stuff. Besides the distributors, I'll be sending sets to: White Lightning Nate Dorward indigo naos marcoliv brownie will be sending sets to: Chuckyd4 EKE BBB mmilovan dutchmanx mikeweil will be sending sets to: couw King Ubu Durium tooter will be sending a set to: fent99 martyjazz will be sending sets to: Dan Gould Bright Moments John B will be sending sets to: The Man With The Golden Arm Stereojack Big Al will be sending sets to: Spontooneous catesta Brad Harold Z Jazzmoose will be sending sets to: noj Jim R danasgoodstuff RDK And finally, Jim Dye will be sending sets to: .:impossible Joe G Stefan Wood Randy Hersom A few things here - All sets have been burned and barring any major catastrophe, will go out tomorrow morning. As indicated earlier, U.S. items will be sent via Priority Mail, non-U.S. items by U.S. Global Priority Mail. Jim Dye has informed me that he will be out of town until July 11. So his recipients might get their sets a few days later than other U.S. recipients. However, I've made every attempt to keep his list as "localized" as possible in hopes that the lesser distance the items need to travel will at least partially offset the slightly delayed send date. OTOH, this will perhaps put his sendees on apprximately the same timetable as our non-US participants. Big Al has graciously volunteered to be the Official Go-To Guy for all U.S. members who henceforth decide that they want to participate. I really appreciate this, because I just will not have the time to take care of such requests, thus the July 3 deadline for signing up. I didn't solicit this service from him, nor have I from any non-U.S. distributors, but I know our community to be one in which bounteous generosity is a distinguisng characteristic. So, if you're late to the party, don't despair - somebody somewhere should be able to get you the hookup! Unless there's an overwhelming Popular Demand, I'll not have a sign-in thread. You as a recipient probably have a better idea of what's a reasonable timetable for receipt from your particular distributor than do I, and I trust that all distributors will distribute in a timely manner. However - if any distributor, or participant from my direct distribution, does not receive their goods within a reasonable time frame - let me know. I don't expect any technical snafus with the discs, but you never know. I did random samplings of the discs after they were burnt, and all seemed ok. But if for some reason you get a coaster, speak up. Ok, that's it. We should be good to go!

You've also got his 1968 appearance on Buddy Rich's Mercy, Mercy, but I don't know that that's necessarily a document of anything more than his time w/Rich's band.

Rosanne Barr Raymond Burr Niels Bohr

It was one of those things that was neither discussed nor hidden. It was just there, and nobody talked about it. It's also not an unheard of scenario.

Bon appetit! Seriously, I'd not bother getting into the stuff with you that we sometimes get into if I didn't have a high regard for you. I hope that you (and the others I occasionally "tussle" with here) know that. It's that overall regard that makes the occasional disagreements so perplexing. You know, the "hey, this guy's at least as sharp as I am, so why doesn't he see this like I see it" syndrome. Gotta love it!

The music?

Allen, I never think you're full of shit. I just think that there are a few things about which you have reached a conclusion before considering the full range of possibilities, some of which I attempt to provide you with, even if they fly in the face of your pre-reached conclusions and are met with an understandably reflexive dismissal which sometimes reflects a recital of personal dogma rather than a direct tackling/examination of the specific issues I raise. Of course, that is something we all do from time to time, myself included, although never, I should hope, on the matters on which we disagree. (is that an example of what you mean? )

Well, now I gotta know - whose straight-ahead gig was it?

A cat can either play or not. Not all players can play all "styles" equally well, since different disciplines and prerequisitroy dispositional inclinations, but that's getting into how well any given individual can play a certain type of music, not whether or not they can play. So Hemphill had problems w/changes. Doesn't mean he couldn't play. Same with Hemmingway and standard form (and Alan, was it the actual time he was turning around, or was he not grasping the "signposts" of the forms and missing them?) - doesn't mean he can't play either. Hell - Louis Armstrong couldn't play bebop. Big whoop. Hemphill got froze by changes. Equally big whoop, and the same for Hemmingway and standard times/tunes. When Louis played Louis, when Julius played Julius, and when Gerry plays Gerry, they knew/know exactly what they're doing, and as long as that's what it is I'm being presented with, that's all I care about. Whatever limitations they may or may not have will reveal themselves over the long haul, as will how "important" those limitations turn out to be. I mean, Arthur Doyle is very limited imo, and his limitations turn out to be very important to me before the end of a CD. In other artist's cases, their limitations never become important. Louis couldn't have played bebop in 1000 years with the skills he had, but lord, he had enough depth to make it totally irrelevant. I'm hoping that this is obvious. Same with Julius - if he couldn't deal with "Stella By Starlight", well, yeah, that's a deficiency, but so is not being able to drink a quart of hydrochloric acid and live, if you know what I mean. I'd not put Hemmingway in quite the same echelon as Armstrong or Hemphill, but he's a damn fine player, and a not-unimportant one. If he has the deficiency that Alan mentions, he has it. No need to duck the issue. And no need to make more of it than needs be made, either. How relevant is it to his own work, how much does it interfere with his projection of his own music? That's the question. Not much, if any, not that I've heard. Gerry Hemmingway can play. No need to not enjoy fried chicken because it's not baked chicken, and vice-versa.

Ok, thanks!

?

You surmise correctly!

Indeed you are! 37 - Harold Z

Agreed. Mariah has never struck me has having the potetnial to be the "real deal" like Whitney did (Does? After all these years and problem? Shall we see?). I mean, hey, Teena Marie, as over the top as she was (and if you've heard her latest album, still is), was deeper in the cut. Mariah's shown the stuff of a good pop singles artist, but never more. At least not to me.

36....do I hear 36....Yes! 36 - marcoliv

← Details, please! Is it complete? Roy did two albums for the label - Hip Ensemble & Senyah, both w/Adams & Hannibal. 11 tunes combined. Rough, but frequently stirring. I've only heard LP versions of each, so if there's a CD version to be had...