relyles

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.

Thanks. I was not sure whether it was the specific OJC remasters or something about the K2 that is special

Hopefully not a stupid question, are K2 remasters on other labels held in the same regard as the OJCs?

pm sent regarding Bill Barron - The Next Plateau (muse MCD 5368) $12

I guess this is a benefit of my proximity to Mosaic's offices - the box set arrived on my desk this afternoon.

I agree 100% regarding Richardson and the two recordings mentioned. I have not heard either the Joe Chambers or Gregory Tardy recordings that I know he appears on, but his contribution to Michael Pinto's Inner Circle Music release, Prologue, is essential to the success of that recording. Richardson is a young artist I have decided to certainly keep an ear out for.

How much was it going for, if you don't mind my asking? I have no idea if it's exactly an in-demand collector's item, but, anyway, if you like this track & want a little more Sharrock or Stubblefield in your collection it's definitely worth seeking out. The lowest price used on amazon was about $5.00. I purchased a copy for about $7.00.

I let my impulses get the best of me. Just ordered a used copy of the akLaff disc.

In these tough economic times I really can't afford it, but why the heck would I let that stop me? I just ordered it.

Did you intentionally not include the details for track 3?

Thank you for the explanation.

I apologize if this is a stupid question, but what is a "K2"? I see it referenced frequently. I assume it is a reference to a particular issue or edition, but chronologically/qualitatively have no idea where it fits.

I almost picked up Palm Of Soul at the show last night, but I did not have enough cash in my pocket. Definitely something I will consider purchasing down the line.

Reading the article yesterday was actually the final prompt for me to order Kinsmen. I had seen it on several year end best of 2008 lists, but had not paid it much attention until reading the article.

One thing I have learned is that very often so called avant garde music is best experienced live. Last night I went to hear Kidd Jordan, William Parker and Hamid Drake at UMASS Amherst. Previously I had never been much of a fan of Jordan. I considered him pretty much a one trick pony with little variation in dynamics or sense of nuance in his playing. Last night I gained a greater appreciation of his playing. All the things I had not really noticed before I heard last night, including an appealing tone, ideas beyond screaming until his lungs fall out, and shifting dynamics. Parker and Drake, made sure there was always soemthing happening rhythmically to hold interest, and because of the frequent grooves and vamps played the music was usually somewhat grounded. Enjoyable set.

I picked up the new Teddy Charles release the other day at my favorite local independent retailer. I purchased it as much for the presence of Chris Byars as for my intigue regarding Charles. With the exception of one Mingus tune, all of the songs were written by Charles and all the tracks were arranged by Byars. Overall a worthwhile recording. On my first listen there were not many surprises, but the quality of the individual performances is high and the compositions/arrangements kept me interested. I am looking forward to listening to this one more.

Daniel is also very interesting on the Andrew Cyrille Maono recordings.

Now that was funny!

I have the two Assaigai recordings on LP. I have never seen either on CD.

I was able to cut and past the address and it worked fine.

I will have to revisit tracks 2 & 4 to see if any clues come to mind.