JSngry

I do too. Just make sure that you have access to a version of the Robert Campbell discography and the Sun Ra—The Eternal Myth Revealed Vol. 1: 1914-1959 set to get everything. Grouping by session is quite useful imo because God knows that's not how they were ever released. Same thing with further grouping by recording order, as much as possible You don't lose anything by not doing this, but you might gain, depending on your own personal wiring.

I was also in high school when I first heard that one, on the radio,, "Naima". I was enthralled! I heard people singing, babies crying, all sorts of human sounds. I was enthralled! Hendrix had gotten me well-acclimated to sounds as sounds. But again, it was all done by a saxophone, using things of which the saxophone can do using legitimate (if not originally intended) means.

Strip clubs AND Jay and The Americans? Now THAT'S working!!!!

I ended up with 6? 8? 10? Let me check tomorrow to be sure It's not albums as much as it is sessions

I will look for that. I also keep an open ticket for Powell the composer. Thanks!

I remain largely a non-fan of Copland, but this Ellis Kohs guy has written something here that has a lot of weight and is executed here with a bit of grace. Good to have some more of the Modern American Music Series. There are more to come. Maybe Juilliard was Columbia's house quartet for projects such as this? Good times!

Indifferent to the music, still excited by the dancing.

It's been a long time, but the first time I heard Last Sessions (Vol 1) I was not sure it was actually Elmo Hope. Very dark, very percussive, not the Uber Bebop of his earlier work. It reminded me of ..Hassan. Eventually the smoke cleared and I realized that neither the piano nor Elmo were in the best of repair. But that's really neither here nor there. Strong is strong no matter how it gets made. Anybody check out Frank Hewitt?

In the case of Hill and Rivers it seemed like he was trying to get them money when they maybe really needed it. Businessman AND benefactor. A noble effort imo. Plus we the consumer benefitted as well

Indeed. Maybe a missing link between Hassan and Elmo?

Woody was tight with Tyrone around that time. So maybe he got him on the band for a quick minute?

https://en.m.wikipedia.org/wiki/Jerome_Richardson Starting from a young age, he first played alto saxophone, taking Johnny Hodges and Benny Carter as models.[1] By the age of fourteen, he was playing professionally around northern California, and also took up the flute. He studied music at San Francisco State College.[2] While in the navy, he worked under Marshal Royal in the 45-piece regimental band that was attached to the Navy's preflight training school for pilots at St. Mary's College in Moraga, California. After his discharge, he joined Lionel Hampton`s band in 1949 before moving to New York in 1954. IMO, that's a huge difference between them and now. A young guy almost had to learn through osmosis. It was schooling, but it was also regular employment. So when Jerome played lead alto, he was carrying all that backstory with him. Wendell Marshall was with Ellington from 1948-1955! Art Taylor was one of the ORIGINAL sSucar Hill Gang, but if you believe Sonny, those guys were all into the other way until they heard Bird. And even then .. Swing or swing, it was organic in a way then that it's probably not now. It evolved but it didn't stop I mean, hey -Snooky Young. There it is.

I want more time...

Huh? Have you checked out Profoundly Blue on Muse with Houston Person?

A Mosaic of all known Ra recordings from his time in Chicago in chronological/session order would be a wonderful thing, but I don't think there's a business opening for that now. That's a good thing in that there is an active and ongoing market for all things Ra right now. Fortunately, the resources to "build your own" such set are available, so...carpe diem

Happy Listening! The Emerson was the one that really got me going, but since then, I've just sorta looked for different versions from different eras and regions. The music stands up to that sort of "different angles" approach. Really remarkable compositions. Right now, I'm keeping an open ticket for the Beethoven & Bartok cycles. Elliot Carter's too, but there's not a lot of options there yet. I guess it's the old section player in me, but a good string quartet and a good saxophone section can reach me when nothing else can. NP: The put this in the same CD as the Berg and ...that explains a lot of things LOL

Berg has for me always been the "warmest" of the "Big 3" of the Second Viennese School. The Juilliard reading here doesn't really play to that warmth, but it certainly doesn't sacrifice passion or other feelings. AFAIK, this 1950 version appears on CD for the first time here. The JSQ would record it again for RCA in 1959. Comparisons should be interesting, but that's for another set later this summer!

Truthfully, I never really found Pharaoh to be an "out" player to begin with. Very technically sound and working with the instrument's intrinsic mechanical capacities. Reactions are of course subjective, but the methodology is not. Mark's liner notes should cover this in inarguably sound detail. Looking forward to it!

There is the Blue Note release of Sinatra live in Australia(?) backed by a Red Norvo small group...iirc they basically, but not exclusively, limn the original arrangements. But it swings well enough! And then there was this outlier...

How often was "need" the only thing involved in making a Pablo record? Bags & Cleanhead swapping blues choruses with Jaws and Sweets commentating might have made for an even better record. Or not. It's a moot point now. They're all dead, so...missed opportunity.

A wasted opportunity, perhaps.

Does anybody sing? There are certainly options there!

That beard is value added!