JSngry

Oh?????

In this case (and whenever applicable) I determine my own worth. You created a misleading blurb of my opinion in service of your own personal opinion - and now apparently have no concern about having done so. As to the worth of the character of all THAT, I too make my own determination. Simple as that.

Except your partial quote implied that we were "at" the same place as far as pre-ordering. In fact we are "at" totally opposite places in that regard. Apology accepted, if that important and fundamental distinction is understood.

I wished I liked this more than I do... Still - kudos to Shepp for bringing out another great Cal Massey piece, "Lookin' For Someone To Love".

Another Fred Wesley album with Hugh Ragin! Apparently there were several over the years. I've missed all of them... This one is a live date with a totally "straight jazz" program that is totally safe for general audiences, not unlike the Jazz Crusaders Lighthouse records. Ragin eats this stuff alive. The effect is not unlike imagining Charles Tolliver on those Lighthouse records!

Wow indeed. Jack Parnell was MD for that show. Was he hip enough to actually orchestrate all (sorta) the tape effects and backwards guitar solos! If not, who would have had on staff to do that? Not just who, but WHY????

Stoned? Or just beautiful?

Sorry, but no it wasn't. Not that I see here. Just the first line.

Full quote.

Sonny and Bird both on tenor...oh my! And some kicking early Philly Joe to boot.

Any idea what original albums were used for the compilation?

Deet Gold - Tales Of The Footloose Blacksmith

Is the Peggy Lee a compilation from other albums?

The OG Interplay album saw American release and should be easily enough found. if anybody doesn't have it yet. The opening track ("Loco 47" ) still blows my mind and IMO is one of the greatest...anything ever.

Mapleshade proper did several excellent Clifford Jordan records. I particularly like the one with Ran Blake. You wouldn't necessarily think that one would work, but it does. Clifford Jordan was very secure in his voice, so I think he could ultimately play with anybody and it would work, if the other person was equally secure in theirs. Nothing to prove, just make music.

Still satisfying, maybe because I imprinted in it when it was only 20 or so years old, not 72. A lot of the future still lay ahead then! Besides, hey, Sonny Rollins still coming into his own is still very much Sonny Rollins. Same with Jackie McLean. Same with Art Blakey with no hi-hat. Standing out this time is Tommy Potter. Hell, I still love bebop, the real deal, that is. I was gifted my copy by a very good friend. Would never have known about it otherwise. Discogs has no copies for sale, so check CD Japan? As far as I know, it's Japan only. But Chicago should have a source I would think. Maybe not in-store, but locatable for a price. The "+5" cuts are not of the same audio quality and sound like cassette dubs of more than one generation. But hell, Warne is in totally peak form on then, so, you know, fuck "sound quality". This is genius and this is what we have.

Maybe so, and I know I'm in the minority, but I prefer In The World. Not as "spiritual", but oh well about that. It's more, uh, in the world!

Amazon has this.

Ha! Yes. I found that one and bought it for the WTF? factor and was pleasantly surprised to find it to be up to the task of positively paralleling the product!

Weren't The Dolphy Series records done for a specific label (Futura, or something like that)? Maybe this new record was not done for that label and therefore would have had a different business provenance or whatever you would call it?

One of Warne's very best records with 5 other/new pieces from the same sessions. Warne was special. Still is.

Big picture, this sounds like about another day at the office. Hell of an office, though. Pre-ordered.

Local Brooklyn, solid and flayvaful.

Hugh Ragin is incredibly versatile, able to play pretty damn much anything meaningfully. On the last two cuts of this Wesley record, he plays a meaty extended solo in the "free jazz" mode and then closes the album with a really soulful "Maynard-like" melody reading. I was ready to listen to this record once, enjoy it, and then give it to the library. But it's got more stick than that, in large part due to Fred Wesley's seriousness of concept, but it's Hugh Ragin that's ultimately keeping it here at the house.