JSngry

And for more info on Frank Hewitt, check out this thread: http://www.organissimo.org/forum/index.php...hl=frank+hewitt

Assuming that you mean that you were born in 1972, if you're two years older than me, that would mean that the first 18 years of my life I was somebody else, which is actually not all that far wrong, but I quibble... Seriously, I apologize if I misread you. The "type" that I mention is indeed common, but if you're not one of them, so much the better! And definitely check out Amina & Vijay Iyer - plenty of good music to be had there!

I ain't signed a damn thing, and my kids use my computer all the time. Dig? I need to find me a good suit who can exploit the public's current distaste for the entertainment industry. Laws and fine print be damned - it's time for emotion to rule! Class action suit, anybody? Can't go wrong there!

I hope you stuck your foot all up in the phone and kicked his ignunt ass all the way back to Stupidville, Ohio!

It does, and that's a my-t-fine session. BUT - The three extra ballads they tacked on to the end of the disc are why I bought it, even though I already had CONGO LAMENT. Those three ballads are... Well, you'll hear for yourself.

Great choice!

This must be coming out on Lone Hill, 'cause I ain't seen a dime yet.

Must be staged. I don't see any mikes.

Garner? Mance? Newborn? Jamal? Tatum, for heaven's sake? We need to brush up on reading comprehension. Details...., details... Blame, Sangrey. Judging by the cat's list, I figure those on my list would be fresh faces. I see it all the time - young cats knowing pretty much all the Bill/Herbie/Chick/Keith lineage and all its offshoots as well as the cats on the scene now (all of them, it seems, even the ones that serve no useful purpose other than to contribute product to the illusion that jazz is alive and thriving), but they think that Nat Cole was a pop singer who used to play a little bit of piano in the early days, or that Elmo Hope was a junkie with a really cool name. Nothing wrong with that, I suppose, but hey... (and I recommend Frank Hewitt to everybody. STRONGLY so in fact!)

I hope you stuck your fist up in the phone and smacked his ugly ass back around the block!

Think he might have been on SHADES OF GREEN too. Not sure. VISIONS is not a bad record at all, and "Does Anybody Really Know What Time It Is" was one of those jazz "hits" that you'd hear quite a bit almost everywhere but on the radio and white folks' homes . It's just a very, VERY blatantly "commercial" album, the kind of thing folks were doing in response to the early CTI success mixed in with the kind of thing folks were doing in response to the success of Wes Montgomery's A&M work. But it's NOT vapid, and that is a not insignificant matter.

The Bastards got it back: http://www.dustygroove.com/jazzcd4.htm#355161

FLAYVAH!

Roots - Stablemates = good, solid date Miles Davis - Double Image = simply incredible music. Sound could be better, but not the music, no way. Lonnie Smith - Mama Wailer = typical early Kudu labe stuff, hughly produced, highly funky, a well-drafted niche-product. Marvin Cabell pops up/in. All three are good things to have/hear, but imo, DOUBLE IMAGE is the only one to get at any cost. If you've not heard the Lost Quintet in action, it's time to get busy. NOW!

There's a difference?

Thanks, Brownie! Is it just my imagination, or has that thing yet to see CD?

Overbite?

Nat Cole Bub Powell Art Tatum Elmo Hope Hassan Geri Allen Francesca Tanksley Duke Ellington Herbie Nichols Teddy Wilson Amina Claudine Myers Sonny Clark

Frank Hewitt.

Was the Bechet/Solal side a Vogue? Been looking for that sucker ever since it came and went in a New York minute on an Inner City LP last century.

I'm more than ok with the early "funk" stuff, and can even enjoy VISIONS on its own terms. But after that...

Incredibly low overhead.

Look closer - what appear to be lounge chairs are actually full-sized automobiles! Clearly, this is a sanctuary for giants, possibly victims of government-sponsored radiation tests gone awry. These people are freaks, and should be shot, gutted, fileted, and eaten with ketchup and fries.

Another way to look at this might be by asking when the constant quest for discovery gets in the way of putting what you've already discovered to good use for yourself. We all, myself included, tend to look at Trane as a model for the ideal artistic curve - keep probing, keep challenging, keeep refusing to settle down, all that Romantic stuff. And that's good, sure, but it sets up the possibility that everybody gets to enjoy the artist's work but the artist, for whom "settling" might be nothing more than the equivalent of a cold beer or two in the shade after mowing the yard, metaphorically speaking, but for which the artist's audience/fans it is too often tantamount to "throwing in the towel" for good, as if the artist should not be allowed the privilage of "comfort". It's not that simple, of course, and Sonny restlessness throughout the remainder of the 1960s suggests that whatever impression of "comfort" his music might have suggested was at least in part illusory. Still, when I hear Trane mention that he wonders what his music sounds like to somebody who had never heard it before, and that he himself would like to have the experience, I am hearing not just a restless explorer who was congenitally unable to sit still, I'm also hearing a man who might have benefitted (in the long term) from the occasional plateauing. Of course, one could (and many have) argue that Sonny's plateauing has gone beyond that, but that is not what I am here to argue. I'm here merely to suggest that the notion held by some (certainly not you, though, Larry), that an artist's "highest" goal is to always push, push, PUSH, might want to ask themselves this - if the point of the bear going over the mountain was to see what he could see, who's to say what the proper course of action is after reaching the mountaintop? Seems to me that there's three choices - keep climbing upwards after the mountain ends, upwards into the ether, leaving the mountain behind; set up shop on the mountaintop and never come back down; or come back down the other side of the mountain to rejoin those of us who reside on the other side of the mountain, but with a perspective and knowledge forever changed from having made the climb. It seems to me that Trane took the first option, and Sonny the third, after flirting several times, it seems, with the second. Far be it from me to say that either decision was improper. I'm just a fan of their lives (as it comes out through their music). They're the ones who actually have to live them.

I'd like to have seen the play when Cecil Taylor was in the cast and ad-libbing lines every night.