JSngry

Thanks, man. I needed to practice my spit take.

Have Google translate the page. PLEASE have Google translate the page. Trust me on this one.

Well, see, that's your problem right there. Smoking stunts your growth.

Seriosuly, I read this thead title as "Electronic Lutheran" and didn't know if I wanted to look at it or not... Sorry to go off-topic. GOTS ta get some new glasses.

I googled, and I'd never have known otherwise. Sadik Hakim, yeah, but...

Most everybody else would be happy just blasting Angela Jolie, if you know what I mean...

Yeah, like there's not enough of those already...

Perhaps a sign of the increased awareness of Hispanic culture in Texas, a decrease in the awareness of Afrocentricity amongst many jazz musicians of a certain era, sheer ignorance, or a combination thereof, but the people on KNTU have recently put a side w/Onaje Allan Gumbs into rotation, and they unanimously announce him as "o-NAH-hey".

Oh HELL yeah!

Free-flung self expression?!?!?!?!?!?!?!?!?! How do you not go for that?

Good point. What about JUMP UP, WHAT TO DO ABOUT? That and OTHER AFTERNOONS are the Lyons-as-leader sides I consistently reach for.

Same here. Don't yet have the box, but this has always been far and away my favorite live recording of this band (that and the Moon release of the other set from the same festival). Great as the other stuff is, there's a quality of "impatience" to it, like they're waiting for something new to happen, but they don't know what it is, do they, Mister Shorter? But at Antibes, they sound fresh, invigorated, organic, and totally in the moment.

Aretha almost had no choice but to be great at an early age, being C.F Franklin's daughter and all. I've got some sermons of his recorded live in his church (originally released on Chess, iirc, and then later on Jewel/Paula), and the vibe is intense. You grow up surrounded by/immersed in that, combine it with your natural talent, and hey... So yeah, it's not fair to expect too many people to be at that level. But life is not fair either. Fair or not, that's where the bar has been set. It's not fair to compare every tenor player to Trane or Rollins either, but that's where the bar has been set. You deal with it, go your own way do the best you can do, and make your own song, but you don't buy into or help create the hype, not if you got any portion of a clue. "Stardom" is for the truly deserving, the freakishly lucky, the totally clueless, and/or the completely evil (and, yes, that can and does come as a combo meal). Everybody else should be happy with having a career.

Must respectfully dissent on this. OTHER AFTERNOONS is a great record, imo.

Jack Frenchs.

Yeah, the Hat group seems to currently have whatever inside track there is to be had on the Revelation catalog, having also reissued Warne's NE PLUS ULTRA. I know Ne Plus Ultra was supposed to be reissued on Hat, but did it actually happen yet? It already happened once, in 1990. this is/was to be a re-reissue.

Is the Flora Purim material included?

Get it. NOW!

Yeah, the Hat group seems to currently have whatever inside track there is to be had on the Revelation catalog, having also reissued Warne's NE PLUS ULTRA.

I thought the Carter/Bradford material on this was originally on Flying Dutchman (now owned by RCA/BMG/Whoevertheyare), but I could be wrong

PRECLUSION was indeed a Prestige issue. I heard it playing in a record store the day it was released and bought it immediately. Prestige remained quite active well into the 70s, both before and after being purchased by Fantasy. Lots of Gene Ammons, Charles Earland, and others. Dexter Gordon too. As for other Fantasy-owned material w/Joe on it, there's a fair bit, most of it on Galaxy - albums JJ Johnson, Roy Haynes, Richard Davis, those two "different sax plaers fronting the same rhytm section things", maybe some more, I can't recall. He's also on two of Donald Byrd's Landmark sides.

I think it was ran, at least in part, by John William Hardy (whose name I also know from some Pacific Jazz liner notes) & Jon Horwich, whose name I don't know at all. Those are the names I see on the Revelation sides which I own. A not uninteresting catalog, to be sure. Small and eclectic, with some great Warne Marsh stuff that, except for NE PLUS ULTRA & a few full-length cuts on the Konitz Half Note set) ahve yet to see CD.

I ws just listening to Cables the other day on Curtis Fuller's CRANKIN', and that, along with recent time spent with the Joe Henderson Lighthouse stuff, brought it home how he was one of the first "inside" players to really get something out of the electric piano that treated the instrument on its own terms, exploiting the intrument's natural traits instead of treating it like a poor substitute for a "real" piano. How "important" a contribution that is will no doubt depend on how you feel about the electric piano in the first place, but I like it when it's played well, and Cables was one of the first to play it really well.

I've been in the habit of ignoring Rufus Harley based on the work of his that I've heard on some Sonny Rollins sides, but a good friend has been sharing his burns of the Atlantic albums with me and I must confess to being pleasantly surprised. No, I'm not a convert or anything like that, but what's pleasing me is Harley's work on his other instruments. His tenor tone is nice, fat, and liquid, his soprano sound very soulful, and his flute is much the same. His competency on all these instruments is certainly obvious. He comes across as a definitely "local" player, but a darn good one, the type who keeps the home folk happy year in and year out, but who doesn't have that much to set the larger world on fire. It's tempting to say that w/o the bagpipe "angle" that he'd not have recorded for Atlantic, but who knows? If all that sounds like a dis, think again. Such players what kept jazz from existing as anything other than a "specialty" music for as long as it did. This is the jazz equivalent of comfort food for me - no surprises, nothing unfamilar, but presented in such a way that a sense of being "at-home" is immediately felt. If the urge to hang around isn't particularly long-lived, the time actually spent there is certainly satisfying on its own terms, and is not felt to be wasted. Now, as for the bagpipes. I like them better here than on the Rollins things, but my life would be none the poorer if I'd never heard them. Actually, I was surprised at how the bagpipes were programmed into the albums as just another instrument, which works fine by me. I was expecting all bagpipes, and that would have been... So far, I've heard BAGPIPE BLUES & SCOTCH & SOUL (love that title!). A TRIBUTE TO COURAGE is waiting in the wings, and I'm expecting/hoping for more of the same. I also see that Harley's since released several albums on smaller labels, including one, with an organist. Anybody ever heard these, and if so, what's the story on them? The Rufus Harley Atlantic sides I've heard so far have been a "small" pleasure, but I'm thankful for any music that provides pleasure, large or small.

I'm thinking that Tecate w/lime & salt is a perfectly acceptable workaround.