JSngry

jazz1, I wasn't being sarcastic when I asked you what you WEREN'T hearing in Haden. I was genuinely curious. Maybe you're looking for something that's not there. But there is plenty meat in his playing - great tone (an understatement!), great time, great swing, great lyricism, as well as a rural, "hillbilly" influence that is VERY real and might account for why he and Ornette (another cat who at his roots is about as "country" as you can get, and beautifully so!) gelled so well together. If you're looking for flash or ultra boppish drive ala P.C., Haden's not your man. He speakshis own language in his own voice. But it is a mighty strong voice, and a language that speaks to many. If you don't "get" it, don't sweat it. But please - be careful with that word "overrated". That's a VERY loaded term.

You might want to dig a hole in your back yard and see if you strike oil... http://www.indiana.edu/~aaamc/radio.html

They did that for the CHARLIE PARKER label??? What's the story THERE?

I can't imagine Ms. Jolie being the type of person whose "had" would go unnoticed....

The Olympia '61 discs are as good as it gets. The Fresh Sound broadcasts they put out under Lee's name are pretty happening too.

INSTANT PARTY!!!!

Nabbed this puppy used a while back and have finally gotten around to checking it out in depth the last few weeks. AMG gives it 2.5 stars, but that's just wrong. Despite his notorious flamboyance over the years, Hamp could flat-out PLAY when the time came, and in this loose-but-together, informally structured (and very well-recorded) 1953 jam session, the time came. Divided between vibes/bass/guitar trios (Buddy Montgomery & Billy Mackel) and larger groups (which include, a.o., Jimmy Cleveland, Mezz Mezzrow, & Clifford Scott), Hamp is an endless font of ideas throughout. Quiet as it's sometimes kept, Hamp was one of the more harmonically advanced Swing Era players, and his playing here is rife with alterations and substitutions, as well as a seemingly endless rhythmic flow. No bebop from him, but so what? Ideas and swing know no genre limitations. In fact, on this session, he plays with a freshness and inventiveness that many more "modern" players would be hard-pressed to match. He just goes and goes and goes and goes, and the results are never cheap or boring. The larger groups find everybody in excellent form also (Cleveland in particular seems fired up and good to go). French tenorist Alix Combelle, a new name to me, is a real treat, playing gritty, hard-swinging tenor in the Hawk-via-Ben manner. A VERY solid player he seems to be, and I'd like to hear more of him sometime. His playing really seems to get to Hamp, who is heard offering him noticable calls of approval and encouragement. Not a "landmark" disc, or anything like that, but certainly one that many here will find to their liking, and one that might well surprise those who know Hampton more by his reputation than by his playing. This is damn good stuff. Check it out.

Angie say. "Go 'head, big guy. GO 'HEAD!"

Kitten On The Keys?

Crude, sure, but it's Billy Bob, so whaddya expect, Sir Alec Guiness?

Pining? As in the tree? Well, here's something worthy of wood...

Why? Maybe he's her brother... Myself, all I can say is that this is one instance, perhaps the ONLY instance, where I envy Billy Bob Thornton.

And may I ask what it is that you're NOT hearing out of him?

Awritethin!

Just a heads-up to those who do vinyl archaeology - those two Prestige sides will be found as CHILD'S DANCE & ANTHENAGIN.

3 if there's a drummer. MAY-be..... Hell man, homemade away. Of course, it IS best to know the "right" changes before departing from them, but ultimately, If it's what you feel and if it works... This is jazz, dig? The day that homemade-with-conviction-that-works no longer has a place is the day the music dies. Are we there yet?

I think he's like that with everybody who's not already established. If he'll do the deal, don't sweat it if he sounds bored or not - you'll get center section profile.

Yep. You could, can, should, and no doubt will say the same thing about all of Ike's BN lps. They's all just too beautiful.

I don't know if it's on the stands yet, since I subscribe. Dom Minasi is on the cover. They didn't give the web address. Y'all were reviewed in tandem with Papa John D, Bill Heid, Sylvia Cuenca/Kyle Koehler, and Swingadelic..

It IS one of Joe's more "out" dates, but not an inaccessable one if one is not inherently opposed to freer (as opposed to outright "free") playing. Joe's mastery of the instrument and supreme musicality are evident from the git-go, and that alone is appealing to me. Others' milage, of course, may vary considerably. But I personally think it's a stone gas of a side. And they DO have more than one copy, I'd imagine.

Thanks, Mike! Gotta love this Internet thing, eh? OK, this from Hentoff: As for the immediate stimulus for the Freedom Now Suite, in 1959 Max Roach had begun collaborating with Chicago writer-singer Oscar Brown, Jr. on a long work to be performed in 1963 on the centennial of the Emancipation Proclamation. The vivid elements of 1960 affected the content and direction of the work, which was first performed for NAACP youth assemblies in Washington and Philadelphia, and then at New York's Village Gate. It was at the Gate that I first heard the Suite and asked Max if he would record it for Candid. So - Max was already without a label when the Suite came to fruition. But was he label-less in '59 when he began collaborating w/Brown? If he recorded his Time album in January of '59 (while still under contract to Mercury, right?), and began doing sideman dates for Time in '59 into '60, then is there a plausable circumstantial case to be made that he intended to sign with Time when his Mercury contract expired? If the answer here is "no way", then case closed. Maybe Max had already decided to be a free agent and just did those dates for some bucks and/or as a favor to all concerned. Seems plausible to me. But what if he HAD intended to sign w/Shad & Time when his Mercury contract formally expired, but sometime in the course of events he floated the idea of WE INSIST! to Shad and realized that it wasn't going to fly on Time? Max had alread begun self-producing his albums at Mercury, so he might have by then come to see labels more as means of distribution than essential means of production, and if/when/if Shad nixed the idea, Max just moved on. Equally plausible, no? Then along comes Hentoff & Candid, and the rest is history. If it can be broadly said that "The Sixties" didn't really begin in America as a whole until the JFK assassination, then it can also be broadly said that in jazz, they began with WE INSIST! As usual, jazz was ahead of the rest of the country. Certainly this matter is not a question of cosmic importance, but it is the kind of historical minutae that fascinates me (for better or worse). I hope that all this isn't too far-fetched in the face of some basic facts that I don't yet know. It's just something I've wondered about for some time. Mike (or anybody else who has factual and/or anecdotal data at their disposal), any thoughts one way or the other (including "Let it GO man, nobody GIVES a flyin' phuck! )?

If anybody's interested, here's BARCELONA for 7 bucks: http://www.daedalusbooks.com/Products/Deta...26Media%3DMusic

Thanks for the chronological clear-up about Max's leader date for Time, Mike. Like I said, that was an area of "cloudiness" for me. The rest was just speculation on my part, wondering about the genesis of WE INSIST. Any documentation as to when (or even where) the idea was first floated and how long from conception to execution?

I'd like to get a sample of Snooky Young's re-creation of Hobart Dotson's intro to "Don't Be Afraid, The Clown's Afraid Too" on LET MY CHILDREN HEAR MUSIC and use that to wake up to. LOUDLY.