JSngry

Definitely "Abstract" from Free Form. At least in the Jazzland release, no idea what all has happened in the various releases over time and over continents.

also - #7 is Joe Harriot from I think, Free Form. But maybe Southern Horizons. I was freaky lucky to find both of them in the cutout bins ca 1971-72. Can't tell you the song name here w/o getting stuff out and going theorugh the LPs, but, yeah, that's from Free Form. Released in America on Jazzland. Funny how listening to both this and early Ornette as a new jazz listener, the supposedly "radical" elements of the music just did not appear to me, I was like, not, that's not weird at all, I can follow that just as easy as I can follow anything. They're notes, they fit together, there's time, it moves on, what's so weird about THIS? Then, the more you learn, maybe the m9ore you know, which is good, but the even more you learn, the more it's like, trust your instinct about that. It's not weird, you were right in the first place. Ok, the piece is called "Abstract", right? just looked at the LP and the timing seems to match, more or less.

#1 is a fine Chigaco band. I will not say further, because I "cheated" to findout the details.

Back to the first set - Disc 6, the Teddy Edwards Tentet makes for a very useful and enjoyable companion to Booker Ervin's Booker and Brass, also arranged by Edwards with not dissimilar instrumentation within the space of about 18 or so months . Contrast, compare, and enjoy!

Software, i don't know, not right off hand. It just need to be in the right key, whatever you have to do to get that. I think Dan covered it in a previous/recent thread. With tapes, it usually runs a half off (if it is off) one way or the other, but sometimes, like Rollins/Roach Graz it gets really bizarre.

Supply and Demand never goes out of style...

Just to be clear, the images posted were not Novus. One was Black Saint, the other Axiom. The Novus records, but I prefer these other two by a bit of a smidge. Then again, I'm going the distance with Threadgill, he's one of those people I'm committed to to that degree. He's more than earned it. Not a LOT of innovative jazz that I can claim to have gotten in from almost the beginning, and I wasn't there for the earliest Threadgill, but I was for X-75, Open Air Suit, and everything since. I am grateful for that, to have been able to get on early and never had to get off, to this day. To the records in question, Very Very Circus, the band, was a real shock to the system (in a good way) when they first arrived... first Air, then the Sextett, and now, out of nowhere (again), THIS! And then a bit later, something new, then something new again...the guy's a proven master by pretty much any measure, and he even has a blues feeling and swing.

These two pretty much ruled my early 1990s expectational paradigm...meaning, yeah, they ruled then, and still rule now!

Ok, the big band date on disc 5 is really good too. Castro's arrangements are sorta like Gerald Wilson 101 (or 102 at times), so nothing really "original" here, but DAMN what a band! A great band playing good charts is always a good thing...sometimes having a great band is more to the point than is great charts, I mean, hey, thought is important, but so is action, and if one can lift the other up, so much the better, as long as nothing gets dragged down. That's a, uh...drag. But that does not happen here, no sir. Air moving, once again, if you have not heard a REAL big band in person, you are missing a genuinely physical experience that will likely stay with you for life. Good luck finding one these days, though.

Amazon pre-order. well crap. There is really no excuse for this kind of thing on a professional, legitimate release. None at all. since there's probably going to be more and more of this type of material coming out, labels like this would be well-served by spending a buck or two on QC - have somebody who has ears and knows keys and timbres and all that take a listen and call out what needs to happen. Little things mean a lot, hello Kitty Kallen.

Back to the first set - Disc 4, the quartet session with Teddy Edwards, Leroy Vinnegar, and Billy Higgins is long-list essential, maybe shorter-than-long-list. Excellent, excellent music.

Late don't play!

All of them. There are no disposable Von Freeman records.

VON FREEMAN!!!

Have you called your local police department and asked for an increased patrol, just as a deterrent?

I don't in the least begrudge him his money, nor do I begrudge him his smart handling of his assets. I do, however, LOL at the people who still (foolishly, imo), cling to him as some kind of a "voice of a generation". He's no such thing and hasn't been for more than a few (and really, just a very few) years in the 1960s. And when he was "that", he was far from the only one, and there were a good number of people from that generation who certainly heard other voices stronger than his, if in fact they heard him at all. Past that, he's undeniably been an "interesting character" of at least as much undeniably inconsistent output. That's what he is, nothing more - or less. I wish him well, and hope he keeps going for as long as he wants to go.

Thom, I think you're looking at the LP cover that was posted for the Dorham cut?

Criss? On this one?

Leaning on Elvin & Joe for the lead volume doesn't count! LOL!!!!! Seriously, those two could get a buried flagpole to swing.

The irony of Wynton claiming that ""true jazz" swings and has a blues feel" and then proceeding for several eons to provide neither in his own music should not be overlooked!

For quality "inside" jazz that was not at all "retro", Verve and the labels it licensed had an incredibly strong and diverse run during the decade.

We need a blog!

mine arrived this morning!

and that's not too bad of an album, actually. At least for that type of thing.