JSngry

Yes.

It's a beach thing...

Been working on my own astounding discovery: http://cdbaby.com/cd/bowtiebarstow

Ervin Magic.

Clean, usually.

That's the one to have if you're at all interested in the Milestone years, which I understand not everybody is, and fair enough. But there are individual albums that are not without merit, either as a whole, or mostly. Nothing to change the world, mind you, but from about the late 80s on, the records did start showing a bit of energy that the earlier ones often seemd to be fighting to find. They're all sorta "small" in terms of ambition and presentation, but within that smallness, there are often some pretty serious glimpses of vastness. On the whole, though, I would say that getting into the Milestone catalog on a serious basis is not for "casual" fans, nor for anybody whoe expectations are for the epochal recorded work of the 50s and 60s. But if Sonny continues to hit you where you live, warts and all (and I suppose it's obvious that I fall into that category), then there are several, at least, individual albums worth a checkout.

Steamly the Stammer.

Yeah, but Sonny plays louder. Without the mike.

PM sent.

It doesn't suck, that's for sure.

But what if it isn't him??? Any chance, Jim, that your opinion of the track could be influenced a bit by who you think it is?? Edit: Or maybe it is him. Or then again, maybe it really isn't!! Well, if it isn't him, it's somebody who on this cut irritates me just as much. See, that's the thing with this cat and his "supporters" (of which I know you are not one) - it doesn't matter that you really don't like the way he plays. Or that you don't like people who play similarly. It's always, "Well, can you be sure that you don't like it just because it's him?" It's like it you're not allowed to genuinely dislike the guy on simple musical grounds, like if you could hear it without thinking it was him that your opinion would be different. Yes, I can be sure, because even if it's NOT him, I still don't like that type of trumpet playing. And I can't help but think that it's him, because that's how he plays! He does have a sound of his own, and that is it. And I don't like it. Period. If he changes the way he plays, I might like his playing. Maybe. It would depend on if I liked it or not. Now there's a radical idea for the syncophants to chew on! Hell, it might be some hotshot modern classical player for all I know. Or it might be Marvin Stamm or somebody like that. Or it might actually be "him". Doesn't matter. I don't like the character of tone (although in "classical" terms, it's close to perfect), and I don't like the phraseology, and yes, Wynton Marsalis is the first name that came to mind, because that is how he plays. But it doesn't matter who it is. It's not that I don't like it becasue I think it's him. I thnk it's him because it sounds like him, and I don't like it becasue I don't like how he sounds. Simple as that.

"Tex Book Tenor"? Gack. Here's one for the Texans in the house:

And who might that be??? The evil that dare not speak its name. It's not that I don't like him because of who he is, although that does come into play when I discuss his "position". I really do not like the way he plays. Period. It gets on my nerves. Quickly. And his "style" is as unmistakable to me as it is irritating. Great technician. Incredible technician. But geez, so freakin' what if I can't stand what he does with it? And I can't. I really can't.

Of some relevance, perhaps? http://www.organissimo.org/forum/index.php...=0entry356318

Al's guess as to his "Track One", and the real Track Five makes me very sad that I've never checked out the album which he points to. I'll just have to buy it soon!

Seriously, I have a recurrent but not consistent problem with my disc locking up WMP after Track Two. This happend last night at work, and it's happened here at home as well. Must be the Phoenix Beach pubic hairs.

As noted elsewhere, my disc somehow had the order of some tracks (#s1 & 3)switched. The above post represents the same comments, but in correct order. [edit - after a second edit...] I will say, after having relistening to the opening 4 cuts in proper order, that the correct sequencing made for a better flow. Even if my opinion of the individual pieces didn't change any, I did hear the flow/continuity/whatever amongst them better. I know how important such things are to many compilers, so here's letting you know, Tom, that I checked it out, and that it works.

It have done been did.

One listen last night, another as we speak, with the usual thanks and disclaimers firmly in place. Will try to be brief due to personal time restraints. TRACK ONE - If I was in the mood for something like this, I might like it, but since at this moment I'm not, I have no idea what to say. TRACK TWO - "Waltz For Debby". One of my very least favorite "jazz standards", so the brevity of this performance is quite welcome. TRACK THREE - Nice try at a "surprise", but the constipated (if incredibly even) tone, and running-on-the treadmill-thinking-you're-going-someplace phraseology makes it painfully obvious who the trumpeter is. If this is intended as "classical" music, well hey, it's played perfectly, if to no great effect otherwise. If this is intended as some sort of "jazz composition", it sucks, period. But I will say this - the guy is a great trumpeter technically. Not too may players who could execute this like he does. But as music, it does absolutely nothing for me. TRACK FOUR - Rouse-ter Ties! I've always dug this album. Not entirely "successful", but a nice, challenging change of pace for Mr. Rouse. Tried to get one of my first bands to cover this tune back in the early 80s, but they all siad, "Why don't we just play 'Freedom Jazz Dance' instead?" So much for the recklessness of youth... TRACK FIVE - Joe. 'Nuff said! TRACK SIX - Been a while since I listened to them at any length, but I think this is one of the Eddie Henderson Capricorn sides, which used to be huge personal favorites. Truthfully, I think they captured the bag of Herbie's "Mwandisihi" band to better effect than did Herbie's own albums. I dig how the "density" of the music is concentrated in the percussion, in the middle of the action, as opposed to the top (which is where most people listen to jazz) or the bottom (which is where most people feel it). Definitely a different way to construct your music, and one that shouldn't be considered "passe" today. It's just another option, that's all, another way to think about music. TRACK SEVEN - On my headphones at work last night, this really sounded like Dewey. On my computer speakers, a little less so. But still mostly so. Not a cut that I immediately recognize, but that sure sounds like Billy on drums, so I'll guess the Anthony Cox Dark Metals album, which I've just only recently had the pleasure of getting a "copy" of. The pianist starts off like a shade of Mal Waldron, but that doesn't last long. His/her time threatens to rush, but never does, which makes for very effective tension between the two hands. This is great stuff. Dewey is one of the most logical "free" players ever, his shit just SINGS. Hell yeah. TRACK EIGHT - Sounds like Charles Tolliver without the chops and polish, which sounds harsher than I mean it. The edges are pretty ragged, but the spirit is sincere. Sounds like a "local" group with a Nationalist philosophical bent. I feel it more than I "like" it, and that's more meaningful in the long run. I really dig the pianist's comp, nice and dark, very strong yet subtle, supports the trumpeter's vibe just right. Good solo, too, displaying the same traits. TRACK NINE - Don Cherry, but from what or where, I don't know. When you have that strong of a voice, it doesn't matter, you just dig it where ever and whenever you come across it. TRACK TEN - Rahsaan, an excerpt. sounds very familiar, but I can't place it. But yeah! TRACK ELEVEN - Shit. I've heard this, pretty sure I have it, but exactly what it is, I'm drawing a blank. Woody Shaw, though, that's for sure. Hey, wait a second - that's Booker! No, it's not...Close, though... Sounds like Booker on a tape that's playing a little too fast. Is this the Nathan Davis date w/Larry Young on piano? No matter, burning stuff, top-shelf all the way. TRACK TWELVE - Sounds like Chick from the Song Of Singing days, but like so much stuff from back then, it's been a while since I've dug deply into it. The episodic-structure (free, time, back and forth) never has worked for me that well in most instances, and this one is no exception. But within each zone, good things happen. This turned out to be just a phase for Chick (if that's who this is), but it was a good one. TRACK THIRTEEN - More Woody Shaw? No complaints here! As mentioned in a previous BFT, the line between this type of straight-ahead playing and certain types of early fusion is pretty direct, or so I think, and Trane is the common source for both. TRACK FOURTEEN - If that's J-Mac, it's a cut that I'm totally unfamiliar with, what with the guitar. If it's not J-Mac, who ever it is needs to be shot dead ASAP. No sense in spending all that energy to sound so much like somebody else's personality. No sense at all. But assuming that is IS McLean, it's a really good cut, and an album that I'd very much like to find out about. Hey, wait a second, is this RENE McLean? It is, isn't it. That complicates matters significantly ... Well, at least it's in the family... Too weird. As long as it's a McLean, cool. Great tune, and no BS-playing. Rene's gone on to find a more distinct voice on tenor, so hey...it's all good. TRACK FIFTEEN - Sam. Unmistakably. Don't know this album at all, though. A little bit of Websearch suggests a Timeless album, but that's one of which I was totally unaware. Gotta get it, and gotta love Sam! TRACK SIXTEEN - Another familiar sounding thing. I'm forgetting too damn much these days. Good energy on the first two listens, but I don't know how well it would hold up to repeated listenings. Perhaps more fire than heat, if you know what I mean (and if that's the expression...). Sounds vaguely "european", if only by the studio sound. No doubt seemed "epochal" at the time, even to the players, probably, but I dunno... Can't say one way or the other just yet. Certainly not lacking in either energy or conviction, though, so that's good no matter what. Hey - I'm outta gas. Dug checking out your cuts, Tom. Much of interest, and much to enjoy. Disc Two, tomorrow, I hope! [edited one time to get the tracks in totally correct order]

Looks like all that happened is that somehow tracks 1 & 4 got switched on my disc. I'll edit my guess post accordingly, and no need to reburn. Don't think it will alter my opinion of anything one way or the other. But thanks anyway!

Is this what you were looking for?

Paul Winter, for that matter. But as far as the Windham Hill school went, I'd still lean twards Jarrett as the major point of departure.

Keith Jarrett wasn't exactly the sole source of the stream... No, but he was probably the main jazz tributary.

The first or second run? Or both?

He'd have better luck if his middle initial wasn't "H"...