relyles

Correct, a private recording and it IS Oliver Lake. Tarbaby? It IS Clifford and you've really nailed where this recording fits. It's not a great record, but a really enjoyable one nonetheless. My initial thought was that it came from the Inward Fire album, which was the first Clifford Jordan I owned.

1. I like the instrumentation and the calypso feel underneath. The tenor is familiar and the trumpet seems to have some Cherryisms. I cant identify the track, but it was an enjoyable start. 2. Lonely Woman. In the beginning, the bassist manages to sound a bit like Haden. Not necessarily when it gets to the arco solo. Sounds like there could be multiple bassists and drummers. No, the two of them are just playing a lot of music. I am really enjoying the rumbling underneath the soloists. Nice tenor solo. The violin sounds too accomplished to be Ornette himself, but he/she is very effective. The violin sounded a lot like Billy Bang. Perhaps this is from the Jazz Doctors recording, Intensive Care with Frank Lowe Donald Rafael Garret and Denis Charles? I have heard a few tracks by this group and love it all. This is a great track. 3. It took me a few listens, but the tenor got me to thinking about Edward Wilkerson, so this must be 8 Bold Souls. Another band that I love. If it is not 8 Bold Souls, this band reminds me a lot of some of the Chicago ensembles I have heard. Fantastic solos by saxophone and trombone. Enthusiastic thumbs up for this one. Did you fade this out? 4. The piano feature in the beginning did not really grab my attention, but once the alto sax solo with who I believe to be Oliver Lake started, I was able to focus in. This sounds like a private recording of a live performance. That could be why the piano did not really get me too far in the background. Anyway, Lake always commands my attention in a good way! I can not identify the tenor saxophonist, but he/she makes a positive contribution to the proceedings. Once it got my attention, this was another enjoyable track despite the extra effort required because of the shortcomings in the sound. 5. Swinging relatively straight ahead piano trio. There is something familiar about the playing here. Enjoyable performance, but nothing specific making an impression on me at first listen. 6. I am pretty sure I have this. I think it is from a Clifford Jordan album. That is definitely who the tenor saxophonist sounds like. In a way the track sounds very much of its time the mid seventies but it is a sound I enjoy. Very soulful like it could be part of the sound track to one of the black exploitation films. None of the solos are particularly memorable, but the overall vibe works for me. 7. Tenor-bass-drums trio. I am most drawn to the foundation from the bassist. The tenor is solid and I imagine someone that I have heard, but the bassist here is holding this all together for me. Oh now there is a trumpet. Glad to hear because I am not sure the tenor would have held my attention for the full ten minutes. I hear some of the post Cherry splashiness in his/her playing that I typically enjoy. Oh and now an alto. Perhaps the most appealing sound and interesting improvisation of the three soloists so far. I would probably enjoy hearing more from this group. 8. Often I would really be into something like this. Maybe I am a little distracted, but right now it is not really doing much for me. Certainly passionate/energetic playing, but beyond acknowledging that … I guess I am looking for a tad bit more composition/structure/form other than the sketch we have here before everyone just goes for it. Like I said, there are times when I could just get caught up in the energy and expressive of the moment and not need anything more. This is just not one of those times. Maybe I will revisit this track when I am in a different mood. 9. I know this one. Darn it! What is it again? I am sure it is something I own. Is it the Leaders? Yes, I think so. Saw them at Sweet Basil around the time of this recording which is one of the Black Saint recordings. Big fan of this group. Arthur Blythe, Chico Freeman, Lester Bowie, Kirk Lightsey, Cecil McBee and Famadou Don Moye. Thanks for this! 10. Searching for something familiar, but nothing I can identify. The tenor at times sounds a little bit like Ricky Ford, but not enough to make me commit. Nice piano solo. Cant say I know who this is, but I do like it. 11. This sounds like one of those foundational things that I should know better than I do. Well played. 12. Another song that sounds a bit of its time. Soprano could be someone like Gary Bartz. Trying to get into the vibe as on track 6, but it is not happening for me this time later in the day. Norman Connors?

where did you find this info? i've been digging around for it and I can't find it anywhere. not that I doubt you personally or anything I just wanted to know where I can find some info about release dates and when I can expect to get these in the US. really excited about the Douglas and Abrams sets. I received an email from CAM Jazz on 7/31. The release date according to the email is Oct. 9th.

I like Coffin's playing. Never heard him with Bela fleck, but I really enjoyed his acoustic recording, Commonality, and I have also enjoyed some of what I heard from the Mu'tet. He can play.

Can I get a download?

The recordings with Terrell Stafford are very enjoyable!

I own three of his recordings on Criss Cross, Gentle Warrior, Jazz Is…, and One For Shirley. As long as you keep in mind that Criss Cross is not a label that you should too frequently expect boundaries to be extended, everything I have heard by Warfield has been well worth my time.

Just worked fine for me when came to the site for the first time today. I got all the new entries since I last logged on yesterday afternoon.

Does it make a difference at all that part of the reason for this business model is to increase revenue to keep the venue in business? I think I read somewhere that this is part of the reason for adopting the model of the paid subscription. Assuming that is true, wouldn't the musicians be receiving some benefit by continuing to have the venue available for them to perform at? I agree that artist should be compensated their worth and I can certainly understand the concern about having the recordings available for listening indefinately to those who pay for the subscription, but at least for the archive it is my understanding that if the artist does not grant the permission, the performance will not be available on the archive. Doesn't this fact that the artist has to consent mean they still have some level of control over their music - even if they are not getting anything extra? It would be nice if the artist could get some kind of royalty in exchange for their consent to have their concerts archived. But on the other hand, I never got the impression anyone at Smalls was getting rich in this venture. This is not an easy question.

By coincidence today I received in the mail a copy of Cameron Brown's Here and How! with Dave Ballou, Sheila Jordan, Leon Parker and Dewey Redman. Looking forward to listening to this one.

Thanks for trying to clarify it for me. I have the Chad Taylor recording with Sanchez on 482 Music. Best I can recall i did enjoy it, although I will confess that I need to revisit it for further listening. I am not sure whether I have any other official releases with Sanch, but I have heard a number of private recordings from live performances. She is certainly a pianist worth hearing.

I am struggling to understand the reference to the preference for Sanchez with respect to Malaby since they do not play the same instrument? Is it something other than the fact that they are or were married that would connect them? For what it is worth, I was very impressed the first time I heard Malaby on a Marty Ehrlich recording years ago and subsequently with Mario Pavone IIRC. I have kept an ear out for him since, but recently although I do still enjoy him his sound at times seems a bit abrasive in a way that I do not like as much. IN any event, he is still someone I continue to check out on recording.

As is the subsequent organ quartet recording, Plan.

Sounds like we were fortunate to catch them on the east coast before they made the taxing journey out west.

I did not intend to be confrontational or jumpt down the OPs throat. If it was taken that way I apologize. I am not naieve enough to expect everyone to experience a given performance the same way and it is surely possible, or in fact likely that every artist will have a bad night. I was simply trying to offer a different experience to suggest that maybe that one performance is not what to expect all the time for the benefit of someone else who may be thinking about catching the group live.

I had a completely opposite reaction when I heard them last Friday night in Hartford as did apparently the other 300 or so of my closest friends in the audience.

The show in Hartford last Friday was one of the best concerts I have heard in Hartford for quite some time. The Cookers are not to be missed if you have the opportunity!

Interestingly I heard Abraham Burton in a duo performance with Eric McPherson earlier in the evening in Hartford.

I have the recording. It is on my pile of CDs I want to revisit, but my first reaction based on my initial listen was definitely a positive one.

Great stuff, But the dates with Ricky Ford and Sonny Fortune are even better, IMO. I am fairly certain all four of those recordings have been reissued/remastered in a recent CAM Jazz box set.

pm sent

Now listening to: Paul Motian Trio Postaula, Bremen (Germany) September 13, 1977 Charles Brackeen ts,ss David Izenzon b Paul Motian dr

Is this the only documentation of Ameen's playing outside of his work with Cecil Taylor? If so (and probably still so even if not), a major contribution to the discography. according to the lord discography on line he also appear on these sessions: Richard Dunbar Running Buddies, Vol.1 : Richard Dunbar (hrn) Fred Kelly (fl) Charles Tyler (as) Ken Hutson (b) Camille Gainer (d) Lenny King (perc) Terry Jenoure, Ramsey Ameen (vln) New York, May 22-29 & July 10, 1982 Running buddies Jahari JR102 Happy hip sad folk - The Mimi - Knock of opportunity - Variation on a theme by Scott Joplin - Synthesized existence - Richard Dunbar Richard Dunbar, Terry Jenourne (fhr) Fred Kelly (fl,pic) Ramsey Ameen (vln) Kevin Ross (b) Camille Gainer (d) Lenny King (perc) Artyanne Coleman (vcl) New York, May 22-29 & July 10, 1982 Running buddies Jahari Rec JR102 Synthesised existence (ac vcl) - Richard Dunbar Running Buddies Vol Two : Richard Dunbar (fhr,p,g,el-b) Fred Kelly (fl,pic) Larry Northington (ts) Ken Hutson, Kevin Ross (b) Camille Gainer, Ron Rahsaan (d) Lenny King (perc) Terry Jenoure, Ramsey Ameen (vln) New York, May 22-29 & July 10, 1982 Cup rods & wands Jahari JR103 Message in the wind - Solar winds golden showers - Morning rituals - Bird feathers - Longetivity brings its own rewards -

In addition to his own releases on Silkheart, Brackeen is also featured favorably on a few of Dennis Gonzalez' recordings on the same label as well with Paul Motian on ECM in the seventies. I have heard some live stuff by the Melodic Art-Tet, but I do not know if anything by that group has ever been officially released.

I have a couple of the sets from this label and my experience has been that they are typically a worthwhile investment if you are a fan of the music the label focuses on.