JSngry

Those who are hardcore AOTW junkies might want to consider an AOTW supplement next week - the Bud Powell trio set recorded at the same concert. Marvellous stuff, and available to vinylheads and old-but-not-too-old fans as Prestige 24024 - THE GREATEST JAZZ CONCERT EVER, where it (and some later pieces w/George Duvivier & Art Taylor) is coupled with The Quintet's set. All that's missing is Max's "Drum Conversation" and the big band set that opened the night, the latter not recorded to my knowledge. Why Fantasy doesn't just go ahead and put the whole shebang into one package and give it Dee-Lux Remastering and that two-fer title (and even use the same cover art, pretty cool if you ask me) is a question worth asking. Or have they? I'm still digging the twofer, Luddite that I tend to be.

Is a Complete Note the same as a Whole Note, philosophically speaking?

Sure. Pretty interesting player at times. He's on a bunch of the early/mid-70s Woody Herman albums on Fantasy, but to me his best work was on MEL LEWIS AND FRIENDS & Chet Baker's Artist House things. I've heard stories that Herbert's addiction made him a real prick, even by junkie standards. One anecdote had him swimming in the ocean somewhere while on tour with BS&T (a band FULL of junkies in those long-past-their-glory days) when he began to flounder in the water. His bandmates heard his cries for help and asked each other what they should do. After a few moments silence, somebody said, "Let the motherfucker die". With that, they all turned and left. Herbert recouped, but the tale is an indication of just how nasty the whole drug thing can get, and how badly Herbert got caught up in it. His best work is conservative-yet-probing (or vice-versa), with a pretty personal tone. It's also got a very real emotional ambivalence to it as well, which may or may not be a result of the drugs. That's a door not worth opening unless you knew the guy really, REALLY well personally.

It's an album that has never been released anywhere besides Japan, ever, as far as I know, going back to the LP version. It's some intense stuff - Side 2 of I SING THE BODY ELECTRIC is the "Readers Digest" version of this album. Nothing even remotely like the stereotypical WR "sound" to be found here - it's intense, borderline free music full of distortion and wild improvisational abandon. Besides Shorter, Zawinul, & Vitous, you got Eric Gravatt on drums and Dom Um Romao on percussion. It's one helluva wild ride. As to whether or not it's difficult to find or not, I suppose not, not in these days of the Global Shopping Village, but in the Pre-Internet Era, it used to be a BITCH to find in all but the most urban areas. Iif the price is right, I'd pick it up ASAP. I don't think you'll regret it.

"Legend" has it that Norman Granz was interested in releasing the Massey Hall tapes and asked Mingus to name his price. When Mingus asked for $1,000,000, Granz demurred.

Get a copy of LIVE IN TOKYO by any means necessary.

Beyond the Blue Notes, don't overlook: SALT SONG, CHERRY, & DON'T MESS WITH MISTER T on CTI. These two are easily dismissed or downplayed for their sheeny production, but that should not obscure the very real, high quality, quite soulful playing that is going on from beginning to end. The kind of stuff that gets under your skin and refuses to leave, all without your knowing it's happening. I actually prefer these 3 to SUGAR. T TIME (Music Masters) - yeah, it's got that yucky digital tinniness to it, and yeah, it's basically a rehash of your memories of the good ol' days, but what the hell? Turrentine is loose, inventive, and flowing throughout, and if that's not enough, then why bother with him in the first place? WONDERLAND (Blue Note, 1987) - funky, poppy, Stevie Wondery club music. It ain't heavy, but in its best moments it's your brother. Definitely one for parties! And lest we forget, best grab this puppy, like, YESTERDAY! Don't ask why, just do it and be glad you did.

http://www.vervemusicgroup.com/verve/artis...st.asp?aid=4834

A perfect example of why Cool, Hard Bop, and their various offshoots were at once imperitave social evolutions and a step backwards musically. What you hear on Massey Hall is not "Bebop". Or maybe it is. Either way, there is so much happening in this music at all levels (intellectual, emotional, technical, whatever) that it is beyond categorization as anything other than individual and collective genius. The music as a whole had to change because, simply put, only a handful of people in the history of the world have had the genius to operate at this level, and as inspirational as genus is, it ain't going to take the world by storm in its pure form. There just ain't that big a market. At the end of the day, genius, TRUE all-encompassing genius, IS the real deal, with any/everything else being perhaps more comfortable, more familiar, more easily confronted, and therefore seemingly more "enjoyable", but to ignore the very real qualities of genius and try to somehow work around them as if they are the downtown home office that we, the attendants at various branch offices in the suburbs will never really need to know all that much about, much less ever visit or, God forbid, WORK at, is at the root of the modern malady of comfort without conscience. Yes, Virginia, some people really CAN make music (and other things) that is/are virtuostic in the extreme AND is full of imagination and soul. But it takes a rare combination of intensive labor and intense imagination to do this. It takes a LOT of time and a LOT of courage, to say nothing of the luck of the genetic draw. Those of us who through no fault of our own, as well as a few faultsthat ARE our own, who fail to reach this pinacle of genius (and really, that's mostly all of us), need not feel like failures, or even console ourselves with the resignged acceptance of being "average". We are who we are. But dammit - there IS such a thing as genius, as endeavors that are of an absolutely unsurpassable level of perfection, and we sure as hell best acknowledge that if we expect to lead anything even remotely resembling an honest life. This is not an Album Of The Week - this is an Album Of Eternal Truth And Beauty and all that other artspeak crap. More to the point, this is music that is, quite literally, As Good As It (or anything else) Gets, or CAN Get. Period. Personal taste and/or preference doesn't enter into it, not at this level. Minmize that fact at your own peril!

Is this some kind of arcane and/or ancient practice that's being rediscovered?

HELL no.

Wanna hear Joe Hnderson jamming righteousy on "59th Street Bridge Song" and "Last Dance"? Apparenty Jerry Rusch/Rush did. Can't fault him for that. http://www.startribune.com/stories/466/3876285.html http://www.allmusic.com/cg/amg.dll?p=amg&u...l=B6fq5g4kbtvoz

Pate for cannibals perhaps?

Good Evening, Ladies and Gentlemen. Welcome to "When Bad Memories Get Worse, Should Somebody Be Hospitalized?" Tonight's Episode: How To Lose Friends & Alienate Customers In One Easy Step. Shawn & Shelley, you DO have names, and they aren't Shane & Sherri (unless y'all get into stuff like that sometimes...). Apologies of the highest possible magnitude for my gaffe. As for the Mothers Day wishes, I was totally unaware that there were little kartoffel·hadi blues afoot, so I assumed, with the same misfiring-on-all-cylnders logic that gave you guys new names (hey, don't knock it - new names, a wig or two - not necessarily an Eva Gabor, but why stint on quality? - , a cheap suit, and a hotel room can make for all the fun the law allows...) that there was some dry wit afoot. Sincerest & warmest (and, alas, most belated) Happy Mothers Day wishes to you. (And Happy Muthas Day to the rest y'all!)

This thread is a reall hooter, er....hoot, uh............never mind.... Seriously, I'm glad I've kept abreast of it and that nobody's made too big a boob of themselves. That would be a misfortune of mammarial, excuse me...MAMMOTH proportions, since it seems that some people, like fish, can be hooked by just a little nipple, excuse me, NIBBLE. It would serve all of us well to wean ourselves from this tendency and enjoy the teat, DAMMIT, TREAT of bemusedly mature aloofness shown by Mme. Sherri (dammit Shane, you better do right by her! ).

The jocks always get the good stuff...

They're all about the same, overall, in my opinion. Lots of kitsch over the top of moments of some really good playing. There were two "Zodiac" projects - Love Sex and the Zodiac (Fantasy F 9445) under Cannonball's name, and Nat's Soul Zodiac / Nat Adderley (Capitol SVBB 11025). This Nat item is the one I remember best, having a nude (semi-nude?) cover. OTOH, Cannonball's only on two pieces (it was tempting to "accidentally type "pieces"...). The Fantasy really doesn't stick out much in my memory at all, to be honest. Wondering what the story is on the Fantasy album - all the discographies I find on-line show it being recorded in Berekely in 1970, smack dab in the middle of Cannonball's Capitol contract, and released on Fantasy, but not, if memory serves, until after Cannonball was well underway with his Fantasy run. What gives there? Anyway, here's a site w/the details: http://corbusie.hp.infoseek.co.jp/cjadc.htm

Yeah. It's MY-T-FINE indeed.

Cat could definitely play! Ain't he on some of the earlier Gerald Wilson things too?

I think Land's mother took ill and Harold wanted to tend to her. Not sure what Teddy's trip was. At least he got captured on record w/the group, that GNP thing.

Rick Holmes was a popular L.A. disc jockey of the time who can be heard briefly on Elvin's Lighthouse album doing some announcing. You GOT to hear the Zodiac thing (actually, there were 2! - one by Cannonball and one by Nat)) - black light poster and Champale should come packaged along w/the album, along with an option for shag carpeting.... :D I agree that both of the Cannonball/Holmes projects have some pretty cool music going on underneath the surface. Somtimes you gotta REALLY work on blocking things out to get to it, but it's definitely there.

David - Sorry for the late reply, but a thousand+ thanks for this. The same also to all who have responded so warmly here and on the other boards. You guys are great! Wish some (all) of you lived in Dallas - we could actually have a thriving scene, or some semblance thereof. I'd like to say more, and might have the time to do so later, but for now, please accept this brief but sincere message as my warmest and deepest thanks.

As is this (but don't tell anybody, ok?)

That's doable!