JSngry

Is #12 Geri allen w/Reggie Workman? http://image.allmusic.com/00/amg/cov200/dr...d82332eftol.jpg You shouldn't have given THAT big a clue, Mike!

Welcome! I think the main reason for the underappreciation of the Bethlehem side you mention is a simple one - lack of availability for years and years. Until the CD issue of a year or to ago, it had never, to my knowledge, been available past it's first issue (there might have been one European LP issue somewhere in the 1980s, but I'm not sure about that). Now, that's far from the only great Mingus album that suffered from a lack of availabilty for years. When I started getting into jazz in 1970. the only Atlantic album that was in print was BLUES AND ROOTS. No PITHECANTHROPIS ERECTUS, no THE CLOWN, no TONIGHT AT NOON, no OH YEAH. And on Columbia, MINGUS AH UM was in print, but MINGUS DYNASTY wasn't. Not sure which Impulse! albums were in print, but I think they all were. However, PITHECANTHROPIS ERECTUS & THE CLOWN had both made a pretty big impression on original release, so their "reputation" was already ensconced in the "consciousness" of jazz awareness. Plus, Columbia & Impulse! both issued 2-fer LP sets early in the decade, the former including both Columbia albums, the latter including the entire THE BLACK SAINT AND THE SINNER LADY album along with a good sampling of the other two. But Bethlehem was a label that was on the scene for, what, 2-3 years? It's catalog (or some of it, anyway) was purchased by King (or Starday/King, not sure which), but they didn't do too much with it at all (I found a King reissue of Mingus' other Bethlehem albuum inth ecutout bins in or about 1985. Where it had been hiding all those years, I couldn't tell you...). It wasn't until the late 70s when the jazz reissue boom, LP era, was in full swing, that the Bethlehem catalog began to be reissued, and that program (ran by Cayre International, iirc) ran out of steam before they got around to anything by Mingus. So it was widely unavailable for quite a while. Plus, I think the album got overshadowed in the press by the earlier Atlantic albums. First of all, PITHECANTHROPUS ERECTUS was a major statement, and actually caused a fair amount of controversy in its time (and frankly, I've never understood why it went out of print for so long like it did). Second, Atlantic was a more visible label, and an ongoing one with a solid, commercially viable track record behind it. On the broad scale, critics and fans alike simply had more "awareness" of Atlantic than they did Bethlehem, if I'm reading my history correctly. So when this Bethlehem side finally did get reissued, it did so w/o 40+ years of reputation and "mystique" behind it. I think that's the whole thing right there. Now as far as another "underappreciated" Mingus masterpiece, allow me to proclaim (again!) the massive virtues of LET MY CHILDREN HEAR MUSIC. This one should be at the top of every Mingusphile's "to get" list, if it isn't already. An amazing album, I think. Regarding Branford's "Scenes In The City", I like it, it's quite good, actually, and maybe even benefits from a more relaxed delivery of the narrative. But you could look at it like that relaxed quality results from the benefit of having 30 or so years to absorb the original. It's always easier to recreate than it is to create. OTOH, a good job is a good job, and Brandord did a good one here, I think. But since the original is now available, there's really no excuse for not using it as one's primary reference, I think. Again, welcome. Stick around and join the fun!

Buffalo Sprinfield was a great band.

It's a movie.

I'll go for "disgrace" in that it is a disgrace that such a great contributor to America has no other options. It's not about a lack of respect or love on the family's part. I'm more than willing to give them the benefit of whatever doubt might exist. It's about a lack of love and respect on America's part. Max was never destitute or anything lie that, but there's no way in hell that he made enough money or achieved enough fame while he was functional so that when something like this did happen that he would have the resources to be handled with the same level of care that his stature dictates. That IS a disgrace. Say what you want to about free markets and familial obligations and everybody has equal dignity regardless of who they are and all that stuff. Whatever. That's all good. Nevertheless, the REAL disgrace here is that Max Roach, a man who has not, to the best of my knowledge, led a life of dissipation and/or financial imprudence has been one of the greatest artists of our time and has squat to show for it once he needs too much more than 3 squares and a roof. That just ain't right, and yes, THAT is a disgrace. The history of Max Roach's career for about the last 40 or so years has been that of a man triumphing, gloriously so in fact, on the global stage in spite of any number of attempts by the industry in his homeland (Bruce Lundvall being a notable, and noble, exception) to ignore him (or at best marginalize him) in the hopes that he would just go away. The ignobilty of this present situation, which again, I'm in no way blaming on the family w/o concrete proof, cannot be ignored.

Yeaah, he made a LOT of bands sound that way all of a sudden, whether he was in them or not...

Did Ralph Peterson really work with Art Blakey and the Jazz Messengers?

So is she a "music jouranlist" above all else? That's what the guy who wrote the Zawinul bio was/is, and it led to a terribly unsatisfying book that was incredibly fun to read. I'd be happier if I knew that she had some true literary skill (like not taking press clips at face value then editing/combining them JUST enough to make it seem like it's original writing/research, and fact-checking names so that Willie Maiden doesn't become Willie Nathan, and Jimmy Forrest doesn't become Jimmy Ford) and some musical acumen so she doesn't say something stupid about the music by using terms she doesn't really understand. But wow - bios of Zawinul and Shorter out in the same year. Who'd a'thunk it?

up?

Who is Michelle Mercher?

That last record he made, the one w/Clark Terry, was too painful for me to listen to more than just a few times. He was "there", but you could tell that something was missing... Max has always been my hero and always will be. I'm sure that Maxine is trying to do the best she can (if that's who's involved). I certainly hope so. Here's hoping that a portion of the world is able to give back in proportion to what has been given them by the great, truly great, Max Roach. Chris, I trust that you'll notify us of any developments?

Max Roach for President.

Would that pianist be John Lewis?

Jim, you saved organissimo board's honor - I started to think noone would recognize that it's Woody's tune on track 9 - how well do you guys know your Mosaics? I have the Woody Mosaic but have never listened to it. Bought it strictly for sentimental value. There's like, what, one new tune on there? I'll get to it eventually. WOODY III was one of those albums that grabbed the people it was going to grab almost the vvery second it came out. Several tunes off that side got heavy on both the college jazz FM & the commercial AM jazz radio here. The former appealed to a predominately young, white, college crowd, the latter to a predominantly African-American , older, blue collar group. But this album appealed to both groups equally, it seemed. As for 23 - when did King Pleasure & Michael Landon cross paths?

21 continues to grow on me too, and I'm beginning to wonder if it's somebody besides Tjader, somebody from "inside" the LAtin music world. No matter, I love this kind of stuff.

See that Pete Brown & Earl Bostic have gotten a few nods for #16. Could be, but I'll stick w/Jordan. Something about that tone...

Yeah, it's got that Contemporary sound to it, too. I realy like the head, those altered blues changes. Very nice.

Now that I've had some sleep, 15 really sounds like Jimmy Rowles on piano amd BK (probably) on guitar. But the Rowles thing is coming through pretty strongly now,

Russell malone, herb ellsi, or mundell lowe? 15? Back to befd.

VERY breifly (sorry...) TRACK ONE - Moody's great mid-50s group. Moody was (and is) one hip muthafukker. TRACK TWO - (The) Ray (Charles) w/Fathead on Atlantic. The sonics give all that away almost immediately. Quincy quotes himself in the intro. TRACK THREE - Not sure. It's got that "swing to bop" in-between thing to it. Maybe some early Leo Parker? It's got his bop/swing/honker thing to it. TRACK FOUR - Goodman? Auld? Teddy? Interesting chromatic thing in the changes. Don't know. TRACK FIVE - Ellingtonia. Might be Ivie. Ah, found it: http://image.allmusic.com/00/amg/cov200/dr...c24201dw7e0.jpg Not Ivie! Would have never guessed her! Couldn't miss Rabbit, though. TRACK SIX - Sonny Stitt w/Tiny Bradshaw! Nah, just kidding. If you don't already know what this is, and don't figure it out when the alto comes in, uh...never mind! It's always amazed me how when he comes in, he carries the beat of the entire freakin' band right along with them, makes them swing HIS way, every last one of them. Incredible. TRACK SEVEN - Machito? Tito? How high indeed! Much coolness. TRACK EIGHT - AAAARGH! I have this record, can NOT remember it? Fats & ???Too tired to think (or listen too closely). Maybe after the nap... TRACK NINE - Don't know, but it's cool. Almost sounds like very early Miles on tpt, but one thing was too slick. Ernie Henry? TRACK TEN - O.P. on cello, right? Beautiful. Track ELEVEN - Hank. DUH! TRACK 12 - Bags w/???? Mr. Haney? Cool tune! TRACK 13 - Ahmad Jamal w/Crawford & Crosby? Another cool tune. TRACK 14 - Interesting mix re: the piano... I'll remember eventually...Don't like the block chord thing but like the rhythms he's using w/the, so I don't think it's a "pure" jazz pianist. Or if it is, it's one whose "regualr"jazz might not have been this interesting. But who knows? A few hours ago, I'd have teracked it down, but now all I can do is say that I dug it. TRACK 15 - How many songs does this thing HAVE? Cool changes on the head. Recognize all these players, I think, but again, can't call them, which is killing me. Everybody's in the same pocket, that's for sure. Wild guess - a highly subdued Oscar Peterson group. Too wild a guess... TRACK 16 - Louis Jordan" TRACK 17 - "I cover the waterfront" Cool reharm, foofoo arrangement. Too bad. Early Shearing? TRACK 18 - VIOLINS! LOTS OF VIOLINS! Again, a very nice pocket. TRACK 19 - What is this, all 45s and 78s? AAARGH! Sounds like a Hodges band w/Al Sears on tenor. TRACK 20 - Otis Rush on Cobra? Yeah, taht's what this is. SOME things you can't forget no matter how zoned out you are. Hellyeah. Track 21 - Tjader? Sounds good to me. MUCH more "latin" than "jazz", and that's fine w/me. If you don't/can't/won't get into the concept of drums as melody and mmelody as drums, leave this stuff alone. Otherwise, c'mon in, the water's fine! 22 - Started to say Ben, but it got to sounding like Lucky in spots. LOTS of spots. I'm down w/it no matter. 23 - King Pleasure. I'm gone!

My copies arrived yesterday afternoon, and I listened to each disc once through tonight, and am listening again as I write. Will have to be brief, as I've been working OT at the slave. TRACK ONE - Interesting progression, from the somewhat post=boppish opening to an increasingly conservative style as the thing progressed. The vibist is using REALLY hard mallets, it seems, and I though of Red Norvo in this regard. The style could be him, too, but I don't know any of his more recent work, and this is definitely a recording from the 70s on. Great players all, but I liked the mood of the intro better than the actual piece itself. Had kind of a loose John Lewis feel to the entire thing, but I don't think that Lewis is involved. Drummer sounds like a mix of Chico Hamilton & Shelly Manne. The ending's cool too. TRACK TWO - Another frisky drummer! Don't ahve a clue who it is, but I dug hearing the Rhodes in a straigh-ahead context again. This cut, and most of Disc One, has a good "social" feeling to it - I don't know that I'd enjoy it too much for "studied" listening, but as club/festival and/or radio music, it's GREAT. I like both kinds of vibes. Jazz can use this kind of thing, something that gets people up and partying. Oh yeah, the alto player...don't know. But he fits in well with the rest of the vibe here. TRACK THREE - Mike sure likes his drummers! Again, don't ahve a clue. DEfinitely something fairly recent, digitally recorded.I like this altoist better than the previous one. Drummer sounds too much like Tony in too many spots to actually be him, but it could be the lovely and talented Cindy Blackmon, which means the altoist could be...I dunno. This is good "outdoors" music - get this kind of thing going in a park or other outdoor venue and people WILL respond. TRACK FOUR - SON OF ZOLTAN! But with a twist or two. More outdoors music, excellently conveyed. Still don't have a clue (and that's going to hold true for this whole disc, iirc...). I'm digging the conga/traps hookup, a lot tighter than is often the case, and more tee better for it. Soloists don't really do that much for me, but that groove renders that concern secondary, at least! And frankly, this group sounds more like it's into the group thing than the solo thing anyway. The conguero is doing it right. Good stuff. TRACK FIVE - Now this one is really bugging me, because I the tenorists sound familiar, but damned if I can call them. ANOTHER kicking drummer! Both tenorists keep threatening to go into Ornetteland and stretch the barlines, but they don't. But damn it if sounds like they WANT too! This drummer has definitely checked out some latter-day Max, but I don't hear Max's ultra-focused crispness (or his cymbals...). If you tell me that Odean Pope is one of the tenorists, I'd be surprised, but only a little... TRACI SIX - "Lush Life", of course. Sometimes I'm really in the mood for this type of piano playing, sometimes not. Right now, I'm not, but in a few days, I might be. And sooner or later, I will be. This player gets more into the specifics of the song than the mood, that's what I mean. Very "pianistic", if you know what I mean. The "recital"-ish appraoch puts me in mind of somebody like Dave Burrell, whom I really, REALLY dig, but I'd hesitate to say it was him. It's really very nice, I'm just noit there for it at this moment, which is entirely my prolem. TRACK SEVEN - Well, at first I was afraid it was going to be Tania Marie (she always sounds like she has to pee really badly but can't get away, which makes me nervous. Joanne Brackeen's like that for me too). Some hellacious bassism going on - big, FAT tone, and those double stops come off pretty effortlessly. HAd to search for this one, and here it si: http://image.allmusic.com/00/amg/cov200/dr...f74601jintm.jpg I'm a bit disappointed that the singer is faking the ethnicity bit, but I cna live with it. TRACK EIGHT - Burrell/Smith? I should know, but I'm really REALLY tired right now. But the vecording has that dull sheen that characterized 60s Verve, so there you go.If I'm wrong shoot me, but you'll have to wake me up first. TRACK NINE - WELL!!! Want an INTERESTING tact to take on one of Woody Shaw's greatest tunes, "On The New Ark" (aka "Woody 1"). Had to investigate this one, and it's this http://image.allmusic.com/00/amg/cov200/dr...f45863kkuu7.jpg Frankly, it makes more sense to me to come at this kinf of material this kind of way if you're this age, because this is more in sync with the rhythm of the live you grew up in. Trying to do it like Woody did it is doomed to fail because you didn't grow up in a world that had the same rhtym to it that Woody did. Solid soling, nothing spectacular, but I very much dig the concept, and also think that if more young players stay true to their times in this kind of way that the soloing will eventually loosen up and go somewhere. How can you free yourself up over a rhythm that isn't yours? TRACK TEN - http://image.allmusic.com/00/amg/cov200/dr...f06344stdmf.jpg Never heard of this guy before now, but don't Jon Hendicks sound his usual fine self! The guy is one of the few singers who can actually scat like an horn player plays. More fun than anything wlse, but what's wrong with that? TRACK ELEVEN - Don't know. the only "jazz" harpists I know off the top of my head are Alice & Dorothy Ashby, and I don't think it's either one of them. Very much liking this one. It's "abstract" thematically, but still has a narrative going on. The "sonics" have me thinking of Ra, but I don't think so. I think it might be the bassist's date, and he's playing superbly. Will be most interested to find out who this is - this could be a purchase. TRACK TWELVE - More fat bass. Such a beautiful instrument when cats learn how to get the sound OUT of it and don't cheat. The singer sings brushes! That's kinda neat. Obvious guess would be Bobby McFerrin, the man of a million voices. Is this that duet w/Rob Wasserman? No matter. Moe fun stuff, and a great clsoer. Good stuff, lots of fun, and high energy. Now off to disc Two. If I can stay awake...

It's a bear thing. You wouldn't understand.

How much for an autographed copy?

Duke didn't have to say anything to make his point. Actions (and attitude, and "speaking between the lines", and godknowswhatelse) did his talking louder than any words could.

I think everybody was in awe of Ayler's sound. It's amazing on record, and from what I've heard, records capture just a portion of its power.