JSngry

If Joe's guess on #11 is correct, then I ammend my comments about how I'll feel if it's not Wynton Kelly. There's a few (ONLY a few) other player I'd do that for, but Hampton Hawes would DEFINITELY be one of them.

OK, here we go... TRACK ONE - seems to have already been nailed. Sounds right to me. Good stuff, everybody's playing. Good club music for a lively crowd on a lively night. TRACK TWO - Don't really have a clue, but the vibes player seems to be using slightly harder mallets than Bags. The pianist sounds a HELLUVA lot like Red, but I know of no Red date w/vibes. A few things, like the tone, phrasing, attack, and that one thing coming out of the bridge on the solo where he rapidly repeats one note remind me of Terry Gibbs. Definitely a Van Gelder recording, so maybe Lem Winchester, a player who I don't think I've ever heard. THIS WINCHESTER DATE has personnel that seems plausible. Beautiful tune, by the way. Never heard it before that I know of, but very, VERY nice. In fact, the words of the title of the first tune on that Winchester date seem like they fit with the closing phrase of the A-section, so that's my guess - a tune I've never heard off an album I've never heard by a player I've never heard. If I'm right, well, like they say, I'd rather be lucky than good... TRACK THREE - VERY easy. Pretty sure I have this in some form or fashion. El Emincee Jay on the "Martha Quinn" tip. TRACK FOUR - I have no clue, but this ("The Dolphin") is a REALLY nice tune, one that I'm casually familiar with. Jim, your reputation as a "tune guy" reveals itself throughout this disc, and very nicely so. I've never heard Louis Stewart, but from what I've heard OF him, this sounds like the kind of player he is, so I'll guess THIS Again, I'd rather be lucky than good, at least on things like this. TRACK FIVE - Now THIS one is seriously fukkin with me. I'm thinking the tune is "How Am I To Know", and the tenor player is Benny Golson, but I can't find a match to those terms, so I got SOMETHING wrong. Assuming that it's the tune, I'll guess THIS , another album I don't really know, but it's the closest match I could find, even though the drummer sounds a lot more like Philly than Persip. Whoever it is, this is some badass stuff. The way the cat plays the melody SO relaxed and then goes off into the Hawk-via-Lucky vertical lines that are really involved while all the while keeping that relaxed feel is the mark of a master, and you can say something similar about the whole group. For this kind of playing (inspired craftsmanship in a familar "style"), this is as good as it gets. Love it. TRACK SIX - Stumped again. I feel like I should know who the pianist is, and will probably feel like an idiot when I find out. The bassist sounds like an animated and involved Ron Carter on piccolo bass when he solos, but not when accompanying. The habanera section on the bridge is quite nice. The quoting thing is ALMOST annoying here, but done with just enough ingenuity to keep it from being so. The reconizable quotes are both from Nat Adderley tunes, so I wonder if there's any significance? I'm tempted to guess Oscar Peterson, but won't. It's a tad too loose and controlled, simultaneously(!) for me to go there. No matter - highly spirited music, with both players going with the flow in a completely engaging manner. Good stuff. TRACK SEVEN - the guitarist's tone, attack, and phrasing virtually screams "JIM HALL" to me at first (a little less as the piece develops), but more than that I can't say, not even for sure that it IS Hall. But I like the piece and performance very much. It's got a kind of peaceful calm to it that I very much admire in others because I so seldom have it myself. The interplay is wonderful, marvelous even. TRACK EIGHT - Always a pleasure to hear Nino Tempo! Seriously, if that's not Getz, then it must be Rich Little... The tune we know, but what recording? I don't have a clue. This is a really spirited rendition, with Getx/Little really digging in and pushing it. I'd have to listen more to say whether he was pushing the rhythm section or vice-versa, but no matter, everybody's playing for keeps here. The guitarist (is it really his/her album w/etz/Little guesting? Probably not, but...) is into it too, especially in the duet section. Very telepathic, getting into Konitz/Marsh territory in that regard. And the DRUMMER!!! HELL YEAH!!! You get a lot of guys who play bossa/samba/etc, and they just play the beat with the little fill here and there, but this cat is playing the MUISC, very much "in the moment". An excellent cut. TRACK NINE - OK, first time through I was thrown until the tenor player played. KNEW who he was! So playing geographic tag, I took a stab at the altoist. Third listen through, I copped the bari player from some Ra and other sides. Went to AMG, and TA-DAH!!!! Love Mr. Alto's twisted phrasing, the backwards way he displaces his phrases, almost Ornette-like. Very personal. This is a cat that deserves to be better known, and I WILL be checking out this album. Sounds like the proverbial "lost treasure", oh yes it does. TRACK TEN - at first I was thinking Lenny Breau because of the occasional multi-lineage going on, but I couldn't sell myself on that idea, so I cheated, looked up the tune on AMG and got THE ANSWER which is perfectly logical, because this cat is a musician of the highest level, and what he does to this tune harmonically requires such a mind - nothing cheap or grandstanding about it. It's bold, yeah, but so much more. He pushes the time a tad more than I really feel comfortable with, but since it's him, I'll assume that that's how he wanted it, and I gotta respect that. You can't argue with this cat. TRACK ELEVEN - Sounds like a REALLY opened up Wynton Kelly, maybe a cleaned up Vee-Jay cut from the Mosaic set (haven't heard it yet) but I don't think so, but still (no, I CAN'T make up my mind...). I have no idea who it is. It's really nice, but if it's not Kelly, then I can like it but let it go. If it IS Kelley, however, it's a very revealing cut, one that I'd say showed his "after hours" side, just playing w/o any "gig" pressure, and as such it would be a very valuable document. What difference does it make? Well, if you're the type that takes everything in life at face value, probably none. But I'm not that type... TRACK TWELVE - Eddie WHO? Yeah, once you know that tone, that feel, that VIBE, you can NOT mistake it. MY "GUESS" , which explains the quality of the guitar work, if correct (and suggests a reinvestigation of this edition of Dizzy's band for their role in the introduction of the Bossa to American audiences). Beautiful tune, whatever it is. starts out like "Deep In A Dream", and then goes into bebop blues changes. Some hip shit. TRACK THIRTEEN - Works for me. Kinda Burrell/Davis/Haynes-ish, but there's worse things to go after, eh? Good-Wilbur Ware-ish bass lines, and the drummer's the real deal. MY GUESS Solid stuff. Maybe not what I'd buy, I'll definitelylisten to all of it anybody gives me. TRACK FOURTEEN - Sounds like Sarah, but closer listening brings some real doubts. It's not controlled or graceful enough for her, I think. And that vibrato on the tag is NOT Sarah-esque, unless it's her on an off day towards the end of her life. Funky lyrics too, not really "singable" at this tempo for this singer. Who is it? I don't know. Great tune ("Double Rainbow", right? Don't know it that well, just going by the lyric, unfortunately), but this version doesn't do it justice, at least not for me. TRACK FIFTEEN - I smell a trick! I think this is Dexter on soprano! Can't say from where, but those lines and the way they're phrased are PURE Dexter. Translate what you hear to tenor, and it's GOT to be Dexter, and fairly late too, judging from how far behind the beat he is and how every phrase in wrought with the drama of if he'll be able to finish it or not. Some people don't care for this very late Dexter, but I love it. It's as real as anything gets, and if it's kinda weary, well, that's kinda the point, dig?. Might be from THE OTHER SIDE OF ROUND MIDNIGHT, ANOTHER album I don't have and have never heard (hey, can't do it all at once, gotta save something for later...), but I really don't have a clue. But that's Dexter, I'll bet some money on it. TRACK SIXTEEN - It's good life, sure, but it would be better if you'd TUNE THE BASS!!! Seriously, a big part of this sounds like the way Red garland used to play in the 70s at the Recovery Room, but not with all those flourishes. Kind of a schizo performance, but I like it well enough. As for who it is, AMG provides me a prety good clue, but I would have never guessed this person (although it amkes a lot of sense in many ways), so I'll not put it out here, since I'm still not totally sure. Hey - a GREAT disc. Again! Thanks to Jim and all the others who put the work into getting it out to us, and even mopreso, thanks for having such good taste.

And btw, the TV coverage on Fox was sponsered by Tums, w/ads that directly mocked Prevacid OTC. The ESPN radio coverage was sponsored by Prevacid OTC, but there were also ads for Mylanta. I had to leave for work in the 8th, so I saw and heard both broadcasts. Never has sponsorship been so conflicted, but never has it been so appropriate.

Seems to me that the difference between near-success and the real deal is fluidity, the ability to toss theory out the window and do what needs to be done the second it needs to be done. In other words, respond to the moment in the moment, and don't let nobility interfere with reality. Grady Little had not learned this lesson as of last night. Hopefully he has now. He's fucked if he hasn't. FWIW, when Joe Torre was managing the Braves way back when, he did the same thing. Always left pitchers in too long becasue he "believed in them". It worked out occasionally, but more often than not it bit him in the butt. Joe Torre no longer has this problem. Instead, he has World Series rings. Carpe diem, baby.

Side Two of MMT is Hello Goodbye, Strawberry Fields, Penny Lane, Baby You're A Rich Man, & All You Need Is Love, in that order. That covered their 3 then most recent singles. I Am The Walrus was the flip of Hello Goodbye, & Baby You're a Rich Man was the flip of All You Need Is Love. Strawberyy Fields and Penny Lane, well, I don't know what the "A" side was for that, I just know that they pretty much changed the world and came out before Sgt. Pepper. So kinuta, if I wanted to talk about THE BEATLES SECOND ALBUM or SOMETHING NEW, you'd not know what I was talking about, eh? Welcome to the wonderful world of Capitol Beatledom, where they took the real albums apart to make more of them and STILL didn't get all the singles on LPs until way ater the fact. That's spirit that made this country what it is today!

I think so. The stuff with the Cosey/Lucas/Henderson/Mtume/Foster rhythm section can be variable (although the BLACK SATIN bootleg by this band w/Dave Liebman may very well be the very best Electric Miles album ever in terms of it being totally integrated group music), but it's never less than very good. The rest of it is pretty much exceptional, in my opinion, at least what I've heard of it (quite a bit, but by no means all). And - the "Lost Quintet" stuff w/Shorter. Corea, Holland, & DeJohnette is like nothing anybody has done before or since.

Got my copy yesterday. listened to it at work last night. Good stuff. Gotta take the kids to school soon, but I'll post my guesses upon returning.

Don Ellis.

washingtonpost.com Melancholy and Infinite Sadness By Thomas Boswell Thursday, October 16, 2003 CHICAGO -- As though the devil himself had planned it, the seventh-inning stretch at Wrigley Field on Wednesday night arrived at exactly the moment when the heart of every Chicago Cubs fan had just been smashed like a rotten pumpkin. What a time to ask 39,574 fans, all in the mood for a dirge, to sing, "Take Me Out to the Ballgame." The last batter of the top of the seventh inning blooped a hideously meek double, inches out of the reach of diving center fielder Kenny Lofton. Two Florida runners scored, giving the Marlins a 9-5 lead that felt like a 40-run margin. The Marlins hitter was thrown out stretching for a triple. The Cubs trudged off the field. And the harshest of baseball realities quickly swept over everyone. The Cubs really were going to blow the pennant again. Staring them in the eye was the worst moment in the entire 128-year history of the franchise that outstrips all others for disappointment. The collapse of 1969 was just preamble. The NLCS fold in 1984 to the San Diego Padres couldn't match this. Not only were the Cubs about to lose their third straight potential pennant-clinching game, but their last two defeats came in games started by Mark Prior and Kerry Wood -- two of the top strikeout pitchers in baseball -- against virtual nonentities named Carl Pavano and Mark Redman. So, Wrigley fans, now that we've all been kicked in the stomach by an 800-pound gorilla, let's stand for a rousing, cheerful rendition of the late Harry Caray's favorite tune. Led, naturally, by the singer from Smashing Pumpkins. You never heard such a forlorn rendition of baseball's anthem in your life. When the crowd got to "I don't care if I never get back," it sounded distinctly like all 39,574 in attendance -- the crowd might have been 39,575 but wasn't there one empty seat down the left field foul line? -- seemed to sing, "I don't care if I never come back." Somewhere, Steve Bartman, the 26-year-old Cubs fan who knocked The Foul Fly Ball out of Moises Alou's glove in Game 6, may have sung, "Take me out of the Midwest, take me far from the crowd. Buy me some airfare and fake ID. I'm real sure that I'll never come back." "I don't care what anybody says. . . . We didn't lose the pennant. The Marlins won it. . . . We were close and the Marlins took it from us," Cubs Manager Dusty Baker said. "Nobody even expected us to be here. . . . But our guys got a taste of it. Next spring . . . " Oh, next year. That would be No. 96 in a row without a world title and No. 58 without a pennant. If the Cubs had lost this NLCS to the Atlanta Braves or San Francisco Giants -- proven 100-win teams -- then Baker's analysis would probably be correct. But the Cubs had a three-games-to-one lead against an inexperienced wild-card foe that had seen three of its starting pitchers pummeled in their first outings. The Cubs got to start and end the series at home. And they held the Prior-Wood hammer at the end. The Marlins get credit for doing plenty of winning in these last three games. But the Cubs did just as much to lose. "We weren't even supposed to show up for these last two games against Prior and Wood," said Marlins Manager Jack McKeon, whose team scored 17 runs -- a dozen off those two starters -- in the last two games. "I'm not going to get into that hex-jinx-goat thing you guys got going [in Chicago]. . . . I think we'll be the darlings of baseball the rest of the way. We're going to have some fun wherever we go [whether to Boston or New York]. We're going to give the American League a tough shot, too." McKeon may be right. This 9-6 victory was built on the dramatics of two infant Fish stars who will probably someday be household names. Miguel Cabrera, 20, greeted Wood with a three-run homer in the very first inning, then drove in a fourth run later. In the outfield, he ran down six Cubs drives, three with catches worthy of Roberto Clemente. Josh Beckett, 23, who shut out the Cubs on two hits on Sunday in Game 5, appeared in relief on only two days of rest and allowed just one run in four innings. McKeon, old enough at 72 to be the grandfather -- or even conceivably great-grandfather of his best players -- managed circles around Baker as he has this entire series. Baker couldn't hide his distrust of his second-line players in tight situations and managed around them. That erodes confidence. Until this final all-hands-on-deck Game 7, McKeon kept everyone in his role, building confidence. If Trader Jack tells you to go fishing with a dumbbell for bait, just do it. You'll probably catch a gold-plated whale. So, silence now holds Wrigley in its melancholy arms. A wonderful game by Alou will be forgotten. His two-run homer went where no fan could possibly interfere with it -- straight into Waveland Avenue. Three times, he robbed the Marlins with catches in left field. Alou did all he could for Bartman, the fellow for whom he expressed so much sympathy and wanted to unburden with a final victory. But, in the end, the demons that have reigned here for almost a century remain firmly in possession of the most beautiful ballpark on earth, like a glorious mausoleum atop generations of buried dreams. Perhaps two moments on this evening, both involving Wood, captured the potential for elation and the reality of ultimate Cub dejection. In the second inning, Wood hit a two-run homer to tie the score, 3-3. Fans always cheer and clap, sometimes they scream. But when Wood connected, everywhere you looked, people jumped, danced, waved their arms and seemed to hover in midair with elation, like Snoopy on a joy jag in "Peanuts." Four innings later, Wood shuffled off the mound after being tattooed for four singles, a double, a triple, a home run, four walks and seven earned runs. He kicked at the grass like a dispirited little boy, lost in despondent thoughts as he approached the dugout. All the dejection of 95 years of Cubness were written in his demeanor, though he has worn the luckless uniform for only six seasons. As Wood ducked into the dugout, he flipped his glove disgustedly into the crowd, even though his team trailed by only one run and might have won. If body language could speak, that disgusted flip said, "Cub Curse wins. We're dead meat." Within seconds, though no one requested it, the crowd tossed Wood's glove right back onto the field. For Cubs fans, that's how deep the disgust and depression now cut. For the faithful of Wrigleyville who have been jilted for so long, these are the dark hours when love fades, even love passed from generation to generation like a community heirloom. Perhaps the spring training which Baker invokes will revive the romance. Winter, especially in Chicago, is so long and April so sweet. But now, if Wood -- or for that matter perhaps even Prior or Sammy Sosa -- throws his glove into a Cubs fan's lap, that worthless hunk of leather comes flying right back. After all, whatever the Cubs have could be contagious. The Marlins will have their Series frolic. But, for the Cubs, let's end this evening with the saddest of possible words. No, not "Tinker to Evers to Chance." Rather they are the words that Bartman, a Notre Dame grad, wrote in a statement of penance before this game: "I am so truly sorry from the bottom of this Cubs fan's broken heart." So are we all. © 2003 The Washington Post Company

I really dug Lanny's work w/Maynard, especially the sextet album on Mainstream. A very unique tone back then, something I always appreciate.

The Baccus thing is VERY nice. He plays organ so much like Rahsaan plays tenor that I still have to fight the urge to believe that it's really Kirk playing organ under a pseudonym. I got the Carn Savoy a few years back from Red Trumpet during one of their sales. It too is very nice. Not as "modern" as his later work, but still very happening. How about Bu Pleasant's Muse album w/Harold Vick? As long as she doesn't sing, that's a very fine album. LP only, I'm afraid.

Start here, please.

Checked out those samples. Sounds good to me, not as consistently startling as the classic Hi sides, but to expect that is totally unrealistic. I'll be buying. Will somebody back me up that Willie Mitchell is one of the most subtle, sophisticated, quirky (those changes!), elegant, and HIP producers/songwriters in the history of American (or even Global!) popular music?

I had a college buddy who had it, and I remember it being very nice indeed. Not at all "jazz" or even "jazzy", but closer to what I suppose was called "High Life" back then, sort of semi-traditional "African" (like "European", too broad a term to really mean anything too terribly specific) party music with a few "popular" elemnts added on, but I don't know enough to say that definitively). I enjoyed it then, and I think I'd enjoy even more now.

Who you talkin' to dude? Rooster. He knows what I'm talking about.

Almost as cool as adding to your post count by deleting then reposting! JUST KIDDING!!!

Almost as cool as adding to your post count by deleting then reposting! JUST KIDDING!!!

So I'm guessing that The Three Stooges never gained too much a following in Fiji, eh? (hmmm... "Foothold In Fiji", sounds like a Wayne tune from the Blakey days... )

We are our own lightbulb? If that's the case, I think I need a stronger wattage...

Yeah, but having a "Soul Woman" on the cover a la LET IT ROLL woulda sold a heckuva lot more!

Dude, how'd you make that post change places?

Another totally valid question is this - does Andrew still have these charts?

That's a totally valid question, I think.

I'm not a stickler AT ALL for tight ensemble work if the lack of "precision" comes from everybody feeling the parts confidently but differently. Ellington is the definitive example of that for me, as are the Mingus-led big band dates. It's not "tight", but it is TIGHT. But that's not the feeling that I get from the ensembles here. It's more like they got the notes, they got the phrasing, and they got the feel, just not all at once and not at the same time, if you know what I mean. Same thing with some, SOME of the solo sections (and it's the ones that gel completely that make the ones that almost do so frustratingly beautiful). It's almost like Moses viewing the Promised Land. They're ALMOST there, which is why I feel that another rehearsal (or maybe just another few takes) would have pushed this group over the edge into total Nirvana. But yeah, I'm happy enough with it as it is too. I can (and will) use my imagination to make this what I fully want it to be, and it won't be hard AT ALL!

DEFINITELY! What I wanna know though, is this - what the HELL are they doing on "Soul Man"? Sounds like they just took the hook and said "That's enough, we'll take it from here!" Shoot, if you're gonna do it like that, why bother with crediting the source? Call it an "original" and pocket a few extra bucks. I don't think anybody would be any the wiser, given how tangentally (at best) related to the original this performance is.