JSngry

Well, he's been dead for a few years now, and funerals are just SO expensive...

Cadence.

That's a truly great one, Luca, one to ponder on for a good while.

I dunno, man, "avuncular" is a word that sounds so... CARDIAC-al. VENTRICULAR, if you must. At this point in my life/health thing, I'd rather not GO there, if you get my drift.

Never knew what the "S" stood for, so HAPPY BIRTHDAY!

Hey, I'll NEVER put out a triple-LP concept record with an underlying Tolkien motif. I PROMISE!

It's a relatively lightweight affair, all things considered, but as Lon says, a nice one that ages well.

Oh yeah. Good stuff! Robin Kenyatta really makes an impression on this set, too. Sounds a bit like James Spaulding with the "professional reserve" stripped (forcibly!) away. This set is as valuable an addition to his discography as it is to Hill's, relatively speaking. And Teddy Robinson! WHOO BOY!!!!

It's not a question of being "ready to". That's bullshit. It's a question of where to go to get what you're looking for. Nothing else. Anybody who's looking for what we focus on here is welcome to c'mon in, no "apprenticeship" required. Anybody who's not looking for it should look elsewhere. Maybe they'll find it AAJ, or maybe not. Who knows? You yourself have noted the different vibes at the two boards, and approvingly so. This was just an attempt to deliniate the specifics of the Organissimo vibe, with no shots aimed at anybody or any other board, and no assumption of superiority claimed. implicitly or otherwise. Thought I made that clear, but if not, and if you can be convinced, here it is again. As for why punk happened, after everything blew up, what was left? I agree, it was a beautiful explosion, but...

Brad, I think there are different types of "newbies". There's the type that are mostly looking for a group of individuals with whom they can enthuse about how cool all this shit is and little or nothing more. And I see nothing wrong woth that at all. But those are the types of newbies who are likely to not feel comfortable here. And yes, I do think that AAJ is a better "fit" for them. The type of newbie who's most likely to feel at home here is the type who has an active interest in learning about the music's history & heritage, as well as examining/debating the esthetic issues involved in same. I think that that's the "focus" of Organissimo musical discussions. That and BN/RVG fetishism. No intent to claim inferiority/superiority of either type of newbie or of either board. Just a recognition that "different strokes for different folks" is a good thing, not to be dismissed as an empty slogan, but to be recognized as a healthy choice for all concerned.

Agreed about the Dexter thing, Ron. I've never heard it so pronounced as on here. Interesting, indeed (do I dare say "revealing"?). Pianist Fred Simmons turns in an interesting turn on this set as well, the type of playing that sounds kind of "generic" with a casual listening, but reveals any number of personal touches on closer listening.

Well, it sounds like they could have done even better with more rehearsal. thos charts are a B*TCH! But that gets into money, and you know how that went for an indie like Blue Note, even in the Liberty days... Nevertheless, that's long been a favorite session of mine as well. Very moody, yet "accesible" at the same time. Ron Carter plays so well on all these dates that I have to wonder why he sucked so badly on GRASS ROOTS (long a sore point of mine, and one which others may or may not agree). Go figure.

Yeah, Andrew's soprano playing is "functional". Serves the purpose just fine, but nothing more. The denser sound Lon refers to is what you get when a player hasn't gotten to learning the finer points of sound production on the instrument (or when they have and decided to go somewhere else with it). It's not so much in the tone as it is in the attacks and the quality of the sustaiined notes. Again, it serves the purpose of the session perfectly, so don't think I'm dissing it. Far from it. I have more thoughts about the CHAINED session (and the set as a whole), but will save them for later. Suffice it to say that this puppy is a MAJOR release, and for many different reasons. The two takes of "Illusion" are a real treat, too. The first retains the mix/balance/whatever of the ONE FOR ONE date, but the alternate brings the strings way up in the mix, which better serves the music, I think. Hill's solo on that one has always seemed to me to be a dialog with the strings, not a "solo with string background", and the new mix drives that point home marvelously. Them ain't no "backgrond" licks!

That's a bunch of bullshit they're pulling. Harold's got it right - the next step is likely to be cutting the bread on slow nights. "Civilians", PLEASE stop reading NOW. You might want to buy a gun (or see if somebody in the band already owns one), just in case. I've seen it come to that for a few bandleaders I've worked for. Never seen shots fired (about money, anyway), but as a "point maker", yeah, it's come to that once or twice. Things bread-related get pretty funky with some people sometimes, and if they're beginning to nickle-and-dime y'all like this, I seriously doubt that this will be as far as it goes, especially if they're getting away with it w/o some serious contestation. Of course, I don't think you're a gun-toting type, and neither am I, but I no longer think that cats who are are automatically nutjobs either.

The CHAINED session is nothing short of amazing. Where have you gone, Mr. Robinson?

The Organissimo Board often does indeed have a bit of "aloof" quality to it, but it's nothing that's been intentionally cultivated. It's merely the result of a lot of like-minded indiviuals coming together. Newcomers of a similar mind are always welcome I think these are some simple and realistic guidelines for newbies to Organissimo, at least as it pertains to the hardcore jazz discussions ( their relevance to non-musical and/or political discussions can and will vary wildly): If you have a question, come right out and ask it. If you know little or nothing about jazz, say so, and don't pretend otherwise. If you come here to preach, go ahead, but do so at your own risk. If you think you know more than you do, don't get your feeling hurt when you're told so, either directly or indirectly. If you come here to impress, make sure that you have the goods to do so - the bar is high (and so are some of us). If you like to butt heads but can't take as good as you get, this is probably not the place for you. Likewise - if you're the type who takes everything personally, this is probably not the place for you. If you expect the board culture to change on your account, don't. If you want your hand held, ask The Beatles.

Murray is outstanding on the new Henry Grimes album. The things that have always "had me wondering" about his is the way he plays eigth notes. Very "herky jerky", and not in a "swinging" way (for point of comparison, Braxton is similarly herky-jerky, but in a swinging way, at least the way I hear/feel it). Plus, I think he's sometimes been rather unfocused in his energy, having a tendency to spew rather than play. Sometimes. But aside from that, I've always enjoyed his work. His dedication is unquestionable, and his willingness to play (seriously plsy, not just show up for the gig) in a wide variety of contexts is exemplary, as is his dedication to continuing to getting his "changes" together (the "Body & Soul" on MORNING song is a good example of well-meant but neverthless outright WRONG notes, notes that can't be expailned any other way. Again, you can use Braxton as a point of comparison). The above-mentioned reservations aside, I think he's been one of the more admirable and enjoyable voices the music has offered us over the last 25-30 years. In regard to the Grimes album, Murray provides a most effective synthesis of his early "energy" approach with the more technical/theoretical "disciplined" aims of much of his later works. In otehr words, no skating in either emotion or chops. It's a very powerful performance. He was probably nudged along by the circumstances of the gig, but still, it shows that the guy's been continuing to develop and hone his art/craft at an age when a lot of players begin to "settle".

That it is.

Did you check to see if there was a disc in it?

Have it. It's a worthy addition to his discography. Might not be a "definitive" session in terms of defining his whole trip (you'd have to get the Savoy & Muse stuff for that) or even the very best example of his "straight ahead" playing (the Joken side has that, imo). But still, nevertheless, if you already know Barron's work, this one should please. If you don't already know his work, it should pique your curiosity.

No problem. There's pop in the fridge!

Nothin' wrong with 'Nita.

I got #311. Seems like there's a possible "Organissimo Cluster" developing... Lotto time?