relyles

Okay Jim you got me. There are a few young musicians on the recording that I enjoy in addition to Wolf, so I ordered it.

Pm sent re: Red Garland Quintet- All Mornin' Long- Prestige, 20bit K2 Red Garland- Red Garland's Piano- on Prestige, 20bit K2

My apologies to Bill for my tardiness in responding. I listened to it a couple of times immediately after downloading it, but then got very busy with work and traveling. I have not read anything else before posting my own responses here. 1. Interesting guitar-drums and maybe bass performance. I like this sort of edgy, clean toned guitar playing. Toward the end there were some glimpses of Metheny’s tone, but not enough for me to confidently commit. Interesting track. 2. Trombone-piano duet. It could be a French horn. It is an effectively moody piece, but after several listens it did not make any significant impressions on me. 3. A saxophone/clarinet ensemble. The tune has a tango feel to it. The only comparable ensembles I am familiar with are the World Saxophone Quartet and possibly the Julius Hemphill Sextet. I am fairly certain this is not either of those groups. In any event, the performance peaked my interest enough to consider possibly hearing more by the group. 4. Piano-bass-drums trio. The bass could be a cello. My favorite track so far. It could be one of the Dutch groups or possibly someone like Simon Nabatov. Love the tension in the pianist’s playing as he/she gradually deconstructs the familiar tune. The string solo tells me that it is a bass and not cello. Very intriguing performance. 5. Trumpet-guitar-drums. The trumpeter sounds like Dave Douglas. It could be his Tiny Bell Trio. I am pretty sure it is Douglas and the drummer does sound like Jim Black to me, so I will go out on a limb and guess it is the Tiny Bell Trio. I have mixed feelings about Douglas. I have heard some stuff by him that I have loved such as his sextet recordings and a live concert I saw with Roswell Rudd. Other stuff just bores me. Can’t say he does not take chances though. I have not heard much of the Tiny Bell Trio, but assuming this is them, this performance would lean toward the stuff from Douglas that I like. Of course, if it is not Douglas then everything I just wrote was a waste of time. 6. Sounds like Rabih Abou-Khalil or another group with middle eastern or possibly Indian influences. It certainly is exotic and the clarinet solo reinforces the overall texture. As the song goes on I am now convince it is not Abou-Khalil – the guitar solo is outside I have ever heard from him and honestly takes away from the performance for me. Without the guitarist this would be very interesting. 7. This is the second track from this recording PR. Very distinctive clarinetist – I was listening to his recordings intensely for a while. Also, his biography, The Traveler, is a fairly interesting read. Thumbs up for this one. 8. tenor-piano-bass-drums. I want and feel like I should be intrigued, but sorry to say this particular track did not move me much. I would like to hear another track by this group, because I do like the tenor’s sound and would be willing to give them another chance on something with a little more overt structure. 9. Tuba-sax-trumpet-drums. Great stuff. It is an Ornette tune and the trumpeter even has some Cherry-like splashes. The saxophonist is very familiar, but I can not positively identify any one at this moment. 10. This is the most up beat, swinging, straight ahead track we have heard so far. No fault of the music, but I got distracted for a moment. For the most part I enjoyed what I heard, but it does not give the same kind of stimulation many of the other tracks did. 11. Wow, another happy piano trio. Solid playing, but not as interesting to me as the preceding track. 12. The disc ends with some more tension filled piano playing ala Cecil Taylor with the incomparable Steve Lacy on soprano. Every time I heard Cecil from this period I am more convinced that this is some of the most amazing piano playing I have heard.

Two more on CIMP, both recorded in 2005 Ancestral Link Hotel Pam Africa

Is there a Mingus bio that the assembled masses here finds acceptable?

That's a reissue of a 1964 Savoy album that featured Dixon with a larger ensemble on one side, and Shepp with the New York Contemporary Five on the other. It's a very good album which, unlike the Shepp/Dixon quartet date, has been reissued several times, including a CD reissue from 2001. Thank you. I saw the CD reissue of that recording. I was wondering whether it was possibly the earlier recording under another name. Since the LP is only $5.00 I would have picked it up if it was.

This looks like something I would like to hear. I checked www.gemm.com and they have the LP listed for $289. A little beyond my budget in these tough economic time. There is another BYG LP listed on amazon titled Consequences. Anyone have any idea what that is?

Her contributions on the two discs by french horn player Mark Taylor, QuietLand and Circle Squared are excellent.

Count me in for your first assault on our ears.

Russell Malone Quartet

You got me.

I am familiar with everyone in the Green group except the bassist. All worth hearing.

Has anyone heard anything about Finn recently? Recently I listened to the Clean Feed release and I am just wondering whether he has been active at all the past couple of years. His website does not seem to have been updated since approximately 2005.

Not all of the performances at Firehouse 12 are really avant garde. For example, last Friday Jimmy Greene appeared with his quartet.

I hope to be able to get down to catch them at the Jazz Standard.

Yes and Yes. I have a 1991 Strata-East/Bellaphon CD of it. It's magnificent, as is all of the Tolliver from that period. Thanks, John. I have it on hold at Dusty G, but would be less likely to plunk down $30 for it if someone came out and said it sucked. I also have the Stata-East disc and concur with felser's opinion.

Firehouse 12 is a great place to hear music.

I had seen it before, but I found it very funny yet again. And speaking on behalf of the lawyer typing this post, I take no offense.

According to AMG, this album was reissued on a BGP twofer with Sure Nuff. I have the Acid Jazz reissue that also includes Sure Nuff, which I enjoyed. I will keep Black Magic in the back of my mind in the event I run across it.

Yes. It is a good one.

Disc Two 1. This sounds a bit like Randy Weston. I think it is the emphasis on the middle keys which give a little darker sound I associate with Weston. In addition, the composition sounds a bit like one of the Weston African influences tunes. Regardless of who it is, I enjoyed the pianist here. 2. Some of the pianists heard on these two discs seem to have some similarities – such as the Tapscott track, the first track on this disc and this track. In the beginning this one had me thinking of Weston, Tapscott and Abdullah Ibrahim alternately. But then it settled in a bit and it does not sound like either of those three pianists. In any event he/she does have a similar dark rumble in the middle of the piano that I like for whatever reason. No clues for identify from the bas solo, but at some point I thought it clashed a bit with the pianist’s rumbling in the background. Small quibble – this is an otherwise enjoyable track as well. 3. I do have a liking for the sort of quirky, interactive guitar trio. Here the opening dialogue between the bassist and guitarist caught my attention. Okay, now I see that they are playing “Afro Blue”. This guitarist has a clean somewhat dry tone that I like. This track appeals to my deep thinker side. It would not work without the bassist. Very interesting track. 4. There is something about basses that resonates with me. A creative bassist with a good sound will get my attention all the time. At the same time, I do think the impact the bass has on the success of a performance is not always overt – or a function of a feature for the bass. That is all just to say that the brief bowed bass solo here was interesting. Now the rest of the group has come in – trumpet – bass and guitar. This is the kind of drummerless, pianoless instrumentation that I would often associate with Kenny Wheeler, but I do not think it is him.. The guitarist here does not seem to take as many risks as the guitarist in the previous track and as a result is not as interesting to me. Aside from the brief bass intro – this track is a bit too lifeless for me. 5. This is significantly more interesting. Trumpet-bass-drums trio. Not as common an instrumentation as the saxophone trio. That is likely part of the reason that it works – the different sound. This trio seems to be in synch and the trumpeter is maintaining enough of a variety and creativity to hold my attention. It is probably musicians that I am familiar with – but I have no idea on the identities at the moment. 6. This is big mood shift. I hear things that remind me of the way Ibrahim voices some things, but ultimately although I want to like it, at the moment this track kind of just went by. 7. I know the tune, but the drum pattern seems to conflict with the tune. There is an undertone of a South African feel in the rhythm which is intriguing as the track progresses. The pianist is solid and now I am warming up to the drumming a little. I may have to come back to this track. The pianist is stellar, but there is something about entire performance that is not clicking for me on first listen. Can articulate it though. 8. I am running out of steam, but I want to finish this before I leave the office for the weekend. This could be something like Steve Bernstein’s Milleinial Terrottorial orchestra, but that would be purely a guess. Nice energy and pulsing rhythm, but not much of a composition, which is something I usually look for in a large ensemble. After twenty some odd years of obsession – I am just recently gaining an appreciation for good arrangements and writing for a larger ensemble. This track did not use the color possibilities much. After a while it just felt long so I skipped to the next track. 9. I should appreciate the feeling a bit more, but now my attention is more focused on whether to go to church or go home. Its nice enough, but that is about it. Maybe on another day, when I am in a different mood.

Master of the Art made it to the car CD player this morning. No complaints about the sound and the music is wonderful.

to my knowledge John Carter did not appear as a sideman on too many recordings, so I wonder whether track 12 can be from a Vinny Golia recording? I have not heard much of Golia's playing to be able to have a frame of references. I may have to do some digging.

I picked up Master Of The Art last week at my local independent retailer. For some reason he did not receive the other one from his distributor, otherwise I would have purchased both. I have not put the CD on yet, but I have owned both of vinyl for years. My recollection is that the music is very strong, but I recall the sound quality not being as good as I would have preferred. I could be wrong about that. I will try to put the CD on in the next day or two.

First Disc 1. The tune itself is familiar – I believe it is from the Les McCann/Eddie Harris Montreux recording. The performance is played with the requisite amount of soul/funkiness to bring to mind that recording. Solid upbeat track to get started. 2. Two basses. The bass on the left channel has someone of a rubbery sound, but that could just be the recording. I prefer the sound of the bassist in the right channel. The trumpeter sounds familiar – a little bit of Don Cherry I think, but I can’t identify him/her. The alto saxophonist is a little bit in the background. Neither soloist knocked me out, but overall the track was interesting. 3. Solid tenor conjuring up the Coltrane vibe. I have actually been listening to Coltrane the past couple of days, so it may be a bit unfair to have the comparison in mind as I listen to this. At least the pianist avoided copping Tyner. Despite what seems like an obvious influence, the tenor has an appealing sound and it would be interesting to hear him playing something that at least for me is so reminiscent of Coltrane. Or maybe I just need to try it again on another day. 4. Electric piano, percussion, freedom vocals, wailing saxophone – the whole thing feels a little dated to me. Nonetheless it is a nice groove. Ultimately not something I am likely to pull off the shelf too often. 5. The trombone sounds very familiar. I like the combination of the trombone with guitar. I don’t feel like I hear that combination very often. I also think I have heard the guitarist before. I can’t identify any of the musicians. The tune itself did not do a lot for me, but I enjoyed the colors of the instrumentation and would like to hear them play something else. 6. This a tangoish feel to it. The vibist has a bright sound and is taking his/her time. The pianist is similarly restrained, which is appropriate for this tune. My first impression is that this is okay, but I did not hear enough to motivate me to want to hear more. 7. The tune is familiar – and the first solo is by a frail sounding trumpeter. Very interesting clarinet solo. One of the highlights of the disc for me so far – sounds a bit like Don Byron. Not sure how I feel about some of the shifts in the tune afterward – I don’t really respond to the shredded guitar effects. Overall an interesting multi-section performance. 8. This alto saxophonist has a tone that caught my attention. For whatever reason the tenor saxophonist Ernie Watts came to mind. Effective. 9. The opening sounds like it has a little Native American influence. Then something about the playing made me think of Horace Tapscott. Sounds like something I have heard before. I liked the piano. My attention wandered during the drum solo – but that is primarily my issue with drum solos as opposed to any statement on the quality of the drummer. Interesting trio performance. 10. The spacey sounds of the introduction did not hold my attention. The piece got better as it went along, but not enough to really interest me. 11. Interesting colors with the guitar and clarinet. I suppose I just like the sound of modern clarinetists, because I liked the brief statement by the clarinetist here. All the other soloists were solid, but I must confess that after a while the repetitive drum figure got a little stale. Overall a decent track. 12. Another clarinet and another good one. Could be someone like John Carter, but so far I have not heard enough of the trademark things I usually hear in Carter’s playing. The tune is kind of shapeless, but I am getting in to it. Just by playing long tones the soloists are conveying an effective feel. The tenor has a certain haunting tonal quality that I really like. Not much really happens here, but it has a quiet intensity/power to it. Would like to hear more from these musicians.