DrJ

Brad - I've only hesitated to pick up that Miles Prestige box due to concerns about the remastering - now quite long in the tooth by CD standards. How's the sound quality?

So many great moments - impossible to choose one favorite program from these. I will say that one could learn just about everything one needs to know about the art of chordal accompaniment in hard bop jazz by closely studying Red Garland's playing on "If I Were a Bell." I don't even play piano, but even a dumb weekend guitarist like me can recognize the genius he poured all over that one. Not to mention Coltrane's entry on his solo in the same tune, one of those moments that makes life worth living. Hmmm, the more I talk about this...maybe RELAXIN would be my pick after all, for this one and a few other sublime treatments like their take on "Oleo."

Currently working my way through the fascinating, outstanding FORCES IN MOTION: THE MUSIC AND THOUGHTS OF ANTHONY BRAXTON book by Graham Lock (I owe a BIG thank you to Jim Sangrey for putting me on to this one). After reading Braxton's insightful, clear-headed, and (most importantly) thoroughly authentic and lived-in viewpoints about issues of race in jazz, the stuff quoted in some of the prior posts just sounds so academic and inconsequential. I'd strongly suggest you check this essential book out, Eric, it'll stimulate your thinking on this topic and you'll never want to settle for anything less again.

Bobby Hutcherson - HEAD ON (Blue Note) for 8 bucks, excellent condition.

I've been holding out on picking up Ornette's LOVE CALL and NY IS NOW - although both are being deleted I HAVE to believe they will appear as either a two-fer in updated remastering, or maybe as RVG's, in the near future. Otherwise I'll be an unhappy puppy.

Dusty Groove (the BASTARDS!) had an item too good to pass up, so it's now in the mail to me: Hal McKusick Quartet: "Ambrose (Just Keep On Walking)" b/w "You're Everywhere" From the Web site of one Jerry Osborne, who calls himself "Mr. Music:" DEAR JERRY: If I have a 'Hound Dog' expression it's because I've been up 'In the Still of the Nite' 'Wondering' about a song. 'Yesterday' me and some 'Friends' were discussing some of 'The Old Songs', when I brought up one that I remember from my teen years (late '50s). It has a girl asking a guy, whose name I think is Sydney, questions like: “Why do we have to walk through a subway tunnel,” etc. No matter what her question, his answer is always “Shut up and keep walking.” I've tried and tried to come up with the name of the song, but I give up. Any ideas? —Al, via the Net. DEAR AL: You are on the right track (subway, that is), though there is no Sydney in this musical adventure. The determined fellow marching underground is named Ambrose. Thus, the title is “Ambrose (Part 5).” Ambrose's willing but curious hiking mate is Linda Laurie, the credited artist. This late 1958 recording made the Top 60 in early '59 (Glory 290). Don't read anything into the “Part 5” reference. It means nothing and there are no earlier Parts. Besides the Linda Laurie original of “Ambrose (Part 5),” Glory hedged their bet by releasing an instrumental of “Just Keep Walking (Ambrose)” on Glory 292, just two numbers later, by the Hal McKusick Quartet. At the same time, guitarist Jimmy Valentine put out a marvelous cover of “Just Keep Walking (Ambrose),” which didn't chart” but received considerable air play, as did its flip side, “Rockin' Hula” (Cub 9024). Though the instrumentals do not have anyone doing Linda Laurie's part, they do have the Ambrose character occasionally saying “Just Keep Walking.” Linda's sequel to “Ambrose (Part 5),” a 1959 issue, is titled “Forever Ambrose” (Glory 294). In this adventure, Laurie and Ambrose are cuddled up — not in a subway — discussing such timely topics as her family's shame over not owning a color television. ******************** I'm a McKusick nut - big fan of his playing, WAY, way underrated as a soloist - so for that, and the fact this whole story seemed like good pop fun, had to have it (6 bucks seemed reasonable). But has anyone heard it who can comment on the musical merit? Dusty Groove claims the b-side is a ballad with some very nice McKusick alto work.

Ah, another one to explore. Thanks for the recommendations, Bev, I've been wondering where to start and you've given me the place!

Not sure...but it SURE is gonna be great to hear CONQUISTADOR with RVG sound quality! That has become for me one of the undersung gems of the label, and hopefully this reissue will help to rectify that some. It's not going to be immediately to everyone's taste, but damn it, this is music too good to ignore even for those coming from a firmly hard bop orientation - just LISTEN, and you WILL hear!

I grew up in the Bay Area and still visit frequently, RainyDay, and I'm not sure what radio stations you're listening to but Steely Dan ain't just played on smooth jazz stations...that's just a totally ridiculous (and desperate) comment. Last time I was down there, a few weeks back, I heard cuts from AJA and THE ROYAL SCAM on the hard rock stations, as but one example. It's also flat out bizarre to even try and compare Steely Dan and Santana, I can't think of more different acts in terms of both fundamental temperment and methods. Both were great in their prime, though. Anyway: more power to Carlos if he wants to try "A Love Supreme" - I'd actually LOVE it if he turned me into a liar and came up with something worthwhile. While it sounds like a stupendously bad idea to me for him to even try it now (as opposed to 20 years ago when he MAY have had the chops and creativity to do it convincingly), what the hell does that even matter? It's certainly not like I have any pull (geez, don't I WISH that my opinions made a difference in what great artists recorded!). And it's not like by having a few of us chuckle at the idea here, that's somehow going to foul the whole deal and Carlos is going to "call it all off" in a huff. I mean that's kind of the silly implication in some of the angry "rebuttal" posts here, that because we're not interested in the idea, we're somehow creating "negative energy" and that's going to screw the whole thing up. Now THAT'S a concept Santana would get behind I'm sure, given his amusing brand of double-speak mysticism. I'm just hoping that if he does try to bring "the dream" to fruition, in keeping with his late 60's roots, those tuxedos have a paisley pattern and REALLY wide lapels...

One that's already OOP: the LEE KONITZ MEETS JIMMY GIUFFRE twofer put out by Verve in the mid-90's. I went lookin' for it, in a major Konitz mood lately, and found it's OOP. However, it was still available - not at Tower, not at CDNow, not on half.com - but at WALMART's online store of all places (came up on a Google search). So now it's on the way, but figured I'd share this source with anyone who's been lookin'...

Hi Bev, glad you're around too - do check in with more of your thoughts!

I agree with much of what you say, RainyDay, the spirit of it - but there's also a big difference between a well-conceived reinterpretation of a piece and delusional (hash) pipe dreaming. As Jim alludes to, Santana was once a fine rock musician, but even at his peak there's simply no way that he had the chops or musical sophistication to pull that one off. That's not meant to be snobbish - not a jazz vs. rock thing, but just that not all jazz has the same kind of weight and implications and challenges as LOVE SUPREME. Also: it is just a fact that when one approaches reinterpreting a piece as powerful and well-known as LOVE SUPREME, one in which the original rendition was so literally earth shaking, that it ups the ante for all future comers even further. That's what Chuck's comments touch on - why not pick something that hasn't been tapped to full (or at least near as full as possible) potential yet and work on that? As to what Coltrane would have thought - I'm pretty much positive he WOULD have been kinder, outwardly at least, than some of us are - but honestly that's neither here nor there in my view. If I was the composer/original performer I'd probably be more gracious too - nobody wants to diss a fellow musician with his heart in the right place. But in this context, why should we be anything but honest?

Big Al: I actually don't mind the "loud" XTC of the first few albums at all - while not my favorite period, there they had a raw energy and the production was appealingly scruffy, fitting with the music. The "loud" stuff that loses me is on THE BIG EXPRESS, and some of the later albums where the production is so far over the top. I dig "Life Begins at the Hop," "Generals and Majors," and that lot as much as any XTC head! I will say that even then it wears on me after a while...for example while I'm glad I have the boxed set of mostly unreleased demos and live stuff they put out a few years ago, after about 30 minutes of disc 1 or 2 I'm ready to scream...but maybe I'm just getting old! Re: "Dear God," I seem to be one of the only "die hard" XTC fans who thinks it's pretty brilliant. Then again it reflects my views on religion almost perfectly, so that's a factor. But also as a pop single, it's catchy, perfectly produced, expertly played and sung, has passion and packs a lyrical wallop for a 3 minute ditty. What more can you ask for? But I do agree it didn't fit in with the flow of SKYLARKING and is much better as a stand-alone single. My recommendations: as above, SKYLARKING, ENGLISH SETTLEMENT, and MUMMER, three of the finest pop albums of any era - and if you have to take only one, SKLARKING, which is most certainly near the top of my Top 10 pop albums of all time list.

The short story is: this is highly worthwhile music in just about every way. Beautifully captured by Rudy Van Gelder, Snidero plays his way thoughtfully and with quiet conviction through some of Joe's best tunes: 1. If (Henderson) - 5:05 2. Serenity (Henderson) - 6:28 3. Punjab (Henderson) - 7:43 4. Inner Urge (Henderson) - 5:09 5. Step Lightly (Henderson) - 8:21 6. Recorda-Me (Henderson) - 5:37 7. Black Narcissus (Henderson) - 7:45 8. Afro-Centric (Henderson) - 7:36 Never heard Joe Magnarelli (trumpet) before this, but he's a fine front line partner in best Dorham/Henderson tradition. Conrad Herwig on trombone gives it a MODE FOR JOE kind of feeling on some of the cuts I'm used to hearing in a more open configuration (like "Punjab" for instance has a nifty bit of reharmonization) - nice, never cluttered. David Hazeltine is fine on piano too - more impressive actually as a soloist then as a comper. If there's a problem with the album that keeps it out of the "modern classic" category, it's with the rhythm section (rounded out by Dennis Irwin on bass and Kenny Washington on drums). Washington especially is a fantastic drummer in the right setting, no question, but I just don't hear him as the "right" player for this recording. The rhythm section ends up sounding reigned in, taking their cues from him, when someone like Ralph Peterson would have had just as much sense of that vintage period BN tradition thing but still really stoked the fires and put a more modern spin on it. With Washington, rhythmically it's more "retro" sounding than a recording like IN 'N' OUT from 1964 (was Elvin ahead of his time? Yes...)!

Way late entering this one...so will be brief. First, I do think Carlos was smoking something when he conceived this "plan" for the reinterpretation of LOVE SUPREME. No reflection on him personally, but that gig just sounds silly. Second - he quite OFTEN sounds silly - in fact most of the time I can't make head nor tail of what he's talking about. He was once a great musician, but now a pale former shadow; as a result the double-speak and flightiness is now grating rather than endearingly eccentric. Santana, sadly, for me stopped being even remotely interesting musically in the late 70's and has yet to regain any of his former momentum - and I've tried, lord knows, to appreciate his later stuff for a long time. Even his once fabulous tone - sorry clem, disagree heartily with you about that - is now thin and faux sounding, heavy on cheesy "FX" rather than created through crafty use of good quality, overdriven hardware. He peaked with SANTANA III, maintained high quality through mid 70's, and it's been quicksand time ever since. AFTER WRITING THE ABOVE: I went back and read more details of prior posts. Kind of cool and interesting how much the third Santana album has grown in regard over the years - I'll bet 20 years ago fewer people would have put it on parallel with the first 2 albums, but it's really aged extremely well (and also not suffered from quite as much overplay of key tracks). How's the new CARAVANSERAI reissue sound? I'm hoping to pick that one up soon...

Well pop music just don't get any better than on SKYLARKING, ENGLISH SETTLEMENT, and MUMMER, imho. I see these as a kind of trilogy, albeit with THE BIG EXPRESS - for me eaily the most disappointing "glory period" XTC album despite a few typical gems - crashing in to interrupt the sequence temporarily. As huge a fan as I am of the group, with the piercing view of hindsight, it seems clear to me that sometimes XTC fell off the tightrope they sometimes tried to walk between hard edged rock and annoying dentist drill yammering. Part of the problem is the 80's production job on many of their louder cuts - industrial strength reverb on the drums, for example, when a nice flat sound would have done so much more nicely and held up better with time. It's bad enough a mar on the face of a beauty like "Ball and Chain," but on the tunes where they tried to "get loud" and turned up the thin sounding distorted guitars, with Partridge in full bellow/whine mode, it's frankly kind of embarrassing and, at the very least, unlistenable. So anyway, despite being a huge fan of grungy, unpolished, and yes, loud rock and roll when it's done well (witness: LONDON CALLING, The Fall's THIS NATION'S SAVING GRACE, X's UNDER THE BIG BLACK SUN, glory period JAM, etc) by and large I find myself returning far more often to XTC's gentler, more pastoral music than their attempts at getting heavy. Big Al: I'm interested in the Caroline reissue of SKYLARKING and how it compares with the recent Virgin paper sleeve reissue. I have the latter and the sound quality absolutely shreds the old U.S. Geffen edition - no surprise there I guess. Plus it does have the original sequence with "Mermaid Smiled" etc - and they still put "Dear God" on as a bonus track at the end. Have you heard that edition?

I have just corrected an error in my prior post/rant about the truncated reissue of PICK A NUMBER...guess what folks, it was not Orrin Keepnews who can be faulted on that one, it was none other than Michael Cuscuna who produced that CD!!! Given his usual completeness, my guess is that maybe they couldn't find the tapes for the last 3 cuts and either weren't inclined to try and locate a good quality LP copy or couldn't find an acceptably clean one. I guess one other possibility is also that because these tracks were apparently recorded at a later session he somehow felt they didn't fit in with the rest of the stuff. Anyway, wanted to be fair to O.K. - although he was still the chump that messed up OUT OF THE PAST and has chopped up so many other recordings lately - and set the record straight. At least Michael appears to be rectifying the problem with this new Mosaic box!

Hey Jim - well what was wrong with MY post of basically this same info!? Just funnin' - you expanded it, and I'm glad to have found out what's on those last 3 tracks - and have a color pic of the cover! Garth - well, it looks like you've assembled a very promising Mosaic Select covering the Farmer/Golson UA+ Sessions. I don't want them to feel we're not grateful for the Jazztet set already on the horizon, but...somebody with an "in" with Cuscuna ought to e-mail this new idea pronto! BRASS SHOUT is btw an album that is undeservedly obscure...maybe not Farmer's very best but a strong one (and got to love that cover, so "of the era").

I've been out of circulation with the baby and a lot of work projects in the launching phase...it's all good, but it's all encompassing too. Anyway, somehow I had enough left over energy to post today. I still check in and lurk once in a while, too. Good to hear from you too, and likewise!

We must have posted at about the same time Garth! They basically just reissued the first 7 cuts...Keepnews must have something against octets, nonets, and tentets! About the content of the Mosaic - while I'd love to see the UA Farmer stuff you mention get issued by Mosaic, it wouldn't really fit the theme of the planned box which, as far as I can tell, just has labels represented that are currently held by Universal. What WOULD probably fit with Mosaic's modus would be a Mosaic Select of Farmer's UA stuff...if they could piece together enough material to make up 3 full CDs. Can it be done?

I can account for the musicians on the 7 tracks that were on the U.S. reissue I mentioned above. You probably know this, but to be sure - the premise of the album is that it begins with a lovely unaccompanied version of "You're My Thrill," and then with each of the successive tracks, additional instruments are added so that by the last track there is a septet. So thusly: Recorded Dec 13 & 14, 1960, Nola's Penthouse, NYC Produced by Jack Tracy Engineer: Tommy Nola 1. "You're My Thrill" Benny Golson - tenor sax 2. "My Heart Belongs to Daddy" as on Track 1 plus add Tommy Williams - bass 3. "The Best Thing for You Is Me" as on Track 2 plus add Tootie Heath - drums 4. "Impromptune" as on Track 3 plus add Cedar Walton 5. "Little Karin" as on Track 4 plus add Freddie Hubbard - trumpet 6. "Swing It" as on Track 5 plus add Curtis Fuller - trombone 7. "I Fall in Love too Easily" as on Track 6 plus add Sahib Shihab - baritone sax I'm curious to see who rounds out what I'm assuming will be octet, nonet, and then tentet configurations for the last 3 numbers!

Thanks my friend! I actually didn't see that thread, but some type of psychic energy must have found me because I just felt like posting today. I've been checking in periodically but way to busy to spend much time, let alone post...having a 7 month old (will update the Avatar picture accordingly momentarily) and a bunch of new job stuff will do that! Fitting that Keepnews would win a Grammy...a useless award. Seriously, I have nothing personal towards him and he's obviously done some wonderful work in his lifetime but in later years he has become more than erratic.

While it's not truly horrible, I've never been enamored with the sound on the Conn of READY FOR FREDDIE, galling to me since it's my favorite of Hubbard's releases from the era. Boomy and muddy. I'm hoping the RVG will remedy that. I make no apologies for upgrading. Personally, it's not a problem for me - kind of brings back a bit of the "new discovery" of old favorite sessions when the sound is improved, even if only a little. When I'm not interested enough in the title, well then, I just don't upgrade. What's the big deal?

Man, I've held off picking up all the Jazztet stuff on CD for years dreaming that Mosaic would do them justice...I am psyched! And it's particularly cool they broadened the concept of the set a bit to include those excellent contemporaneous Farmer and Golson individual leader dates, given that only some of them have been issued on CD in the U.S. and then only in a rather Procrustean manner. Two of the Golsons (FREE and TAKE A NUMBER...) were reissued in that short-lived Chess reissue series with the color-coded artwork from a few years back...or at least sort of: Michael Cuscuna (surprisingly) lopped off 3 of the original 10 tracks of the TAKE A NUMBER...album - a particularly gratuitious hack job, since the CD length as issued was only 62 minutes and the rest would have fit!!! The Farmers appeared in the CD OUT OF THE PAST, which similarly saw Orrin Keepnews lopping off one track from each of the original albums while also resequencing the tracks. Since I have since picked up the Japanese imports of both full albums, I can tell you I have no idea why he left those cuts off - both are as strong as the rest of the stuff he did include. What a dork.

This is great news...thanks for sharing it! I'm becoming a Wadada Leo Smith nut ever since first exposure to his amazing sound on Braxton's 3 COMPOSITIONS OF NEW JAZZ...most recently have been enjoying the hell out of the much more recent GOLDEN QUARTET. These have been on my radar screen for the past few months. I just pre-ordered!