JSngry

Not sure Tony is those in the States would know what a wanker is I am from Rochdale and so I have every idea Che. Must be one of those post crushers, who try and get to a 1000 posts by March So how about you say what you want in one post? Che. No. He talks like that when he's having a quick lamb shank. Hey in Rochdale we call it a 'Ham Shank' Here in Texas, we call it being a Ham Wanker.

No.

Is the date on this correct? April?

George Braith & Freddie Roach.

Doris Green could PLAY!

So, was he related to Willie Dennis?

"Work" & ""Introspection". For now...

HA!

If there had been no jazz, there would be no Oldies!

I think the focus of this music is to just get a good party vibe going. For somebody of Roy's age and background, that almost has to include hip-hop & R&B vibes. I mean, he was 16 in 1985. I really don't think that when he was hanging out with his homies that they were all groovin' on Kenny Dorham, ya' know? Maybe in SCHOOL or at home while practicing, but not on the corner after school and after practicing. In Dallas, he'd have been a LONELY young man if he had done that! That's what I mean about younger people playing their own music, not their father's (or even their grandfather's!). Play what you know, play what you live, don't just play waht you learn. If that involves electricity, funk, and rappers, hey, so be it. It don't bother me any, not as long as the intellegence stays in it, not as long as the musicianship is good, and not as long as the grooves are real, and not pseudo.

I burnt the set into strict chronological/session order (5 discs to keep from having split sessions) and have been listening that way. By far and away the 10-31-67 session is the sloppiest, the raggediest, the least fulfilling. Sounds like nobody had half a clue about what was going on in terms of the tunes. Maybe not even Andrew. DEFINITELY not Herbie Lewis. Some strong solos, but even most of them sound like the cats just said "fuck it" and BLEW, if you know what I mean. As close to a Train Wreck as Cuscuna is ever liable to let out of the vaults, I'm guessing. The rest, though, is a marvellously intriguing collection of sessions that are not without problems. But most of the problems are relatively minor - strained ensembles here, botched solo entrances there, occasional moments of unfocus from the rhythm section, etc. At the time, that might have been a big deal as far as BN releasing any of this stuff, but today, more than 30 years later, hey, it's history now, so big whoop. I can see why Teddy Robinson didn't stick around. He's a very "light" drummer, and not as rhytmically interactive as somebody like Joe Chambers, who was constantly engaging in rhythmic dialogues w/Hill. But Robinson has a great ear, and his textural shadings work really well on the first two 1967 sessions, where Hill seems to be more interested in exploring space and texture than anything else. Robinson almost seems to be under the spell of Sunny Murray in spots, and to my ears, it works. Especially on the trio session. Whoo-eee! Speaking of space, that first 1967 session sounds like everybody was tripping or soething! Cats go on and off mike, like they're bobbing and weaving whilst under the influence, and the energy is very psychedelic, almost Ra-like (same thing on the trio stuff - VERY open-ended, yet melodically coherent). And that organ! WOW!!! Reissue of the year, afaic, even if it's not a reissue.

AMG shows that Willie Dennis was also from Philly. Any relation? Both played w/Mingus, so maybe?

Sounds like admirable work. Went through some PTSD fallout w/one of my kids 7-8 years ago, and could have really used more/better information than was available at the time. Hope you do well.

Maybe we have a language barrier here, so help me out, please. What do you mean that you "felt it was trying to do too much for me"? Serious question.

I have the STRENGTH EP, and like it just fine. For this kind of a bag, I personally like the new Russell Gunn thing (ETHNOMUSICOLOGY VOL 4) better - more guts, more edge, etc. But the RH Factor thing is cool too. Kinda "pop"-y, but the grooves are good, and that's the object of that particular game afaic. It's actually nice to hear a player born in 1969 play music based on things that happened after he was born for a change. So, what are you doing your dissertation on?

Hadley Caliman - IAPETUS. GOTTA get IAPETUS! Maynard Ferguson - COLOR HIM WILD & SEXTET. Seriously. Sonny Red's side was none too bad. There's more... a bossa side w/Jim Hall, Jimmy Rainey, & Zoot Sims; the Terry/Brookmeyer stuff; cuppla Charles Brown sides that some might find cringeworthy, but some will dig. There's more...

TRANSLINEAR LIGHT I like it. Yes.

I thought he was in the "good but one of many camp" until I heard him on Alice's new album. If he can stay in that zone, he'll have something to say that needs to be heard from here on out. Not necessarily "innovative", but there's some emotional meat in his playing there that I'd not heard before, and that is rare amongst so much of today's jazz. Stay tuned, I suppose.

The problem with buying sides on the internet is that there's no real-time "moment of accountbility" like there is in a store, when you gotta write the check, or dig into the wallet, or fork over the plastic. Point, click, point, click, point, click, ad infinitum. Not until the bill comes do you realize what you've really done...

From what I've heard of the demos vs the final album, Mardin's role was pretty transparent, but still crucial in terms of production subtleties and arranging nuances. Like I said, he's got a big bag of tricks, some of them obvious, some of them not. He's sorta the "unsung hero" of a lot of classic Atlantic pop-soul records over the years.

Mr. Effron, as hip, and hiply wacked out, as he often is, does not have a, shall we say, "unspoiled" reputation in matters of commerce.

Ditto on the former, but my Jarrett pick would be NUDE ANTS, where the live setting brings out the energy (dare I way warmth?) in Jan's playing that is often more or less just implied on the studio stuff. I'd really like to hear that 1966 stuff. Wonder what kind of bag he was into back then...

Sonny Greer seems like Sunny Murray by comparison.

Eventually, yeah, but not immediately. The first 2-3 years at Milestone were pretty impressive, imo, but then things started getting a bit predictable. Again, not all at once, but over time. Milestone was releasing 2-3 Tyner albums per year back then. Hard to have something new every time.