relyles

7. My guess is that this is a totally improvised solo guitar performance – at least there is no definite song form. The closest my listening experience has come to this is a couple of Derek Bailey live recordings. Well I can’t complaint about the rock influenced distorted guitar effects this time, but it is still not something I can imagine myself seeking out too often. At a minimum it requires a much more focused listen than I am able to give right now in order to fully appreciate. I have no idea who the guitarist is. 8. “Crazy Rhythm”. Solos by tenor, trombone, piano. Tenor had a slight pre-bop/rhythm and blues feel in the solo that was interesting to listen to. The other two soloists did not make a significant impression on me. Nothing familiar about any of the instrumentalists. 9. The “rock guitar” seems to fit on this track because the entire performance feels more like an extended rock improvisation other than a narrowly defined jazz/improve performance. The drummer certainly is not trying to deliver a 4/4 swing feel. I have very little reference to compare this against to form a qualitative judgment. Then after about six minutes the feel changes a bit. Something tells me this is the kind of thing most enjoyed in a live setting really loud as opposed to being an intellectually stimulating listening experience – at least for me. 10. An assortment of sounds – guitar, bass, violin and other stuff. I think I will have to come back to this one in order to have anything credible to say. 11. Something for everyone on a ND compilation. Now we have the swinging large ensemble Solos by trumpet, alto, trombone, tenor, piano all maintain the energy level. Nice energy and arrangement with solid solo statements. 12. The alto sounds familiar right away. What I thought was just going to be the introduction before the tune settles in lasted over four minutes. This was not a memorable conclusion to this disc for me.

I listened to the entire disc twice in the office before trying to make any comments. I had a couple of quiet minutes in the office tonight before I run out to hear Henry Threadgill at Wesleyan, so I decided to knock out a few of the tracks. 1. This suggests a Tristano influence – in particular the rhythmic feel and the playing on the head. The solos by the piano, trombone and tenor all told solid concise stories. There is nothing familiar to me about any of the soloists. Overall nice track to get things started. 2. This is an interesting track. I am not sure how I feel about the sound of the bass. In the extended opening it reminds me of some recordings from the seventies of Charlie Haden’s bass. Once the tune settles into somewhat of a groove it has an overall Ornette vibe to it. At times the first alto soloist sounds a bit like Mr. Coleman, but I do not think it is Coleman. I like the sound of both saxophonists. Very strong track. 3. Another track where the subtle bit of counterpoint and the steady rhythm brings to mind Tristano. Brief statements from trumpet, alto, bass, tenor and then guitar all seem to fit. The new album by Fred Hess comes to mind. I listened to it a few times and enjoyed it, but I do not have the information regarding the album with me here at work to confirm. In any event, this is my kind of stuff. 4. This on the other hand probably is not my kind of stuff. I should clarify that by stating that I think the saxophonist is interesting – in fact he/she sounds familiar for some reason. Appealing sound and an imaginative solo. I also liked the groove set by the bassist. The drummer’s solo – well it came across to me like a drummer’s solo – I have a hard time seeing how it relates to the rest of the tune unless I look at it as a segue to the guitar solo. And that is where this loses interest to me. Just not a huge fan of the rock influenced distorted guitar in jazz/improvised music. The saxophone solo following the guitarist does not have the same impact to be as the first saxophone – assuming it is different. Bottom line is that I started to lose interest in this one after the first saxophone solo. 5. Feature for a trumpet backed up by subtle strings and an ensemble. Trumpeter has a nice sound and a sense of confidence in his/her playing. Solid track. 6. The required organ track. Stuff like this always sounds familiar to me, but never enough to make definite identifications. It also does not require much effort to enjoy. Nice groove and impressive solos by tenor, guitar, and organ. Well played if not particularly distinctive. That is probably my max for one sitting trying to listen attentively. Time to go check out Zooid and maybe even the preconcert talk with Anthony braxton. I will be back with the second part when I get a chance.

Thanks for the updated Tom. I am glad to hear that. I know he missed out on a recent Enrico Rava tour in support of the New York Days release. Also thanks for the heads up on the Trotignon release. Turner seems to be one of those peope who really is willing and interested in playing with a wide spectrum of artists.

email sent

I received mine on Saturday. Thank you.

And before you get too involved - watch the movie "Down And Derby". Fun movie about fathers going overboard.

Up until this year I always had the scale the pack used in my possession. Maybe a slight unfair advantage. For what it is worth, since we have a very small unit we let anyone participate. Only scouts can go on to the district event, but the first two years my daughter had the fastest car. Last year she had the second fastest. My son had the fastest.

Forgot the other ideas question - sand the wheels and axels to get any knots out. also, use graphite as a lubricant.

I am in my fourth year as a leader of a unit and in the midst of preparing for our fourth pinewood derby. In working with my son I have prefered drilling holes in the car and filling it with weight, if for no other reason the weight is not visible. for some car designs this may be more difficult, but I think aesthetically this is the way most do it. Ultimately those closest you can get to the maximum weight without going over is all that mattera. I have read some who opine that it is best to have the weight in the front of the car, while some have said in the back. Again, I think the design of the car will dictate where the weight can be put.

I fall victim to another hat sale. Just ordered the following: Seeking - John Carter / Bobby Bradford Performance (Quartet) 1979 - Anthony Braxton Zaki - Oliver Lake Oleo - Joe McPhee Survival Unit II, New York 1971 - Joe McPhee I Know About The Life - Archie Shepp Chicago Overtones - Daniele D'Agaro

I have the Byard tribute disc. That is a very good one.

Tan Thanks Relyle for your little research on the web. you're correct. Benjamin Herman is one of the leading alto saxophone players nowadays in the Netherlands and some weeks ago I heard him in a great concert titled Hypochristmastreefuzz, which is the name of his latest release, dedicated to Misha Mengelberg. The album by the Robert Jan Vermeulen Quartet is titled Ugly Beauty and dedicated to the music of Monk, but one track is a Misha Mengelberg composition titled Kneebus. Eric Dolphy played his "last date" for the Dutch radio in June 1964 with a Dutch Trio featuring Misha Mengelberg on piano, Jacques Schols on bass and Han Bennink on drums. And ............... guess who's playing the drums on this Ugly Beauty album? Enjoy the great music clip by the Robert Jan Vermeulen Quartet to promote their album Talkin' Cows, dedicated to the music of ............... Misha Mengelberg! Let's give the details: 13. (5:36) UGLY BEAUTY ROBERT JAN VERMEULEN QUARTET Benjamin Herman as - Robert Jan Vermeulen p - Frans van der Hoeven b - Han Bennink dm Kneebus ( Misha Mengelberg) Recorded Amsterdam 1-2 maart 2003 Thanks Relyles !! Keep swinging Durium I actually like Herman a lot. I have three of his discs and several live radio broadcasts. I especially like his work with Pierre Christophe playing Byard. So many people try to do Monk albums, the prospect does not appeal to me as much - although I really liked the one track that is not a Monk track. Have you heard his disc of Mengelberg music?

Is the Byard solo, or with a group?

Since I had the artist and durium provided the title, I suppose track 13 comes from this recording: Track 13

Thanks for the additional thoughts. I have had The Music According to Lafayette Gilchrist for a while and the times I listened to it I could not get fully engaged. I think it may be the sameness that Jim and Bill referred to. I have heard alot of Gilchrist with David Murray and although I enjoy that Black Saint band a lot, I can't really say anything specific about Gilchrist's individual contribution caught my attention. But then yesterday I was listening to that private recording from 2003, which actually predates the one recording I have and I started to connect with it. I will pull out the disc I have for a new listen, but I was very curious about his subsequent recordings to see if his approach had crystalized any. It sounds like Bill had a good response to Soul Progressin so maybe I will give it a shot.

At the moment I am listening to a private recording of a Lafayette Gilchrist performance from a couple of years ago and I am wondering whether there are any additional impressions of his recordings as a leader?

My last installment: 16. Relaxed performance featuring two sympathetic trombones. The relaxed vibe is maintained by all the soloists. None of the individual statements are particularly noteworthy, but as a whole this is a pleasant performance. 17. A Monk tune. Got a little distracted, but once the performance got past the head, it was nothing like Monk. A lot of technique – impressive even. I think I will have to come back to this one. 18. I like the pianist immediately. Good swing and flow of ideas. I also thought the bowed solo was a nice touch. The vocalist did not really do it for me.

Here is my next installment: 8. Nothing remotely cutting edge or obviously advanced about this track - it simply manages to generate a relaxed good vibe. I have no idea regarding any of the personnel, but I especially enjoyed the tenor saxophonist’s brief statement 9. Apparently a historical performance. This is one of those things that I have had limited exposure and as a result limited appreciation of. 10. Has a sort of jungle feel to it. At least I do recognize this as “Salt Peanuts” played by a larger ensemble. I can’t completely get into that chug-a-lug guitar rhythm. The soloists were all effective within this feel. Ultimately this is not something I would be moved to listen to often. 11. A compilation like this just reminds me how much music I have not heard in my 21 years of listening to jazz. So many gaps, and not enough time to fill them. This sounds like a pianist I should be familiar with. Very strong technique. 12. I am going to want to listen to that bass again. Simple, but played with a terrific sound and feeling. Very effective. The brief clarinet spot did not really add anything – could have been a bass solo all the way through and I would have been more than satisfied. 13. This is easily one easily one of my favorite tracks on the disc. Great solo by the pianist. The alto sounds very familiar. The first thought I had was someone like Benjamin Herman, but I can’t commit. I could listen to more of this. 14. This is definitely a swinging piano trio. I am sitting in my office tapping my foot. Another highly enjoyable track for me. The pianist sounds familiar, but I have no idea on the identity of the muicians. 15. I feel like I have heard this just recently. Yes, I should know who this is. Whoever it is, I like it. Bread and butter hard bop. Can’t go wrong. The trumpeter actually sounds like someone modern – like Roy Hargrove or someone of that generation. I a useless.

Not yet, but I generally do enjoy Greene's playing. I plan to get it eventually.

I am a little late getting to this and I only have a partial response right now: 1. Ensemble plus vocal playing in a historical jazz style that I do not have much exposure to. Fun upbeat performance with solid solos from trombone, trumpet and clarinet. The clarinetist’s (possibly sax) solo almost hinted at a modern player. Fun track but I have no clues on identification. 2. I am fairly certain that the alto saxophonist is Frank Morgan, but I am unable to locate a recording that this brief performance would have appeared on. I have always found his sound very appealing. 3. Short performance of “Django” by a guitar-bass-drums ensemble. Kind of a country/hillbilly guitar sound. I have no idea who the musicians are. Kind of interesting, but not something I would likely seek out for further investigation. 4. Nice performance by a piano trio. There are some familiarities in the pianist, but not enough for me to make an identification 5. Guitarist has an obvious amount of technique, but the track as a whole did not really move me. 6. Solo guitar (or is it a banjo?) performance. 7. Swinging violin and guitar feature. I know there are not a plethora of jazz violinists in the history of the music, but my familiarity with them is limited to a few modern performers. Pleasant – I am sure I should appreciate it more. I think my limited exposure negatively impacts my enjoyment. I will post more as I find time to listen.

For most of the morning I have been listening to the Michael Pinto recording and it is growing on me with each listen. It is a somewhat subtle recording - it does not smack you in the face. Instead, much of it has somewhat of a floating feel with occasionally shifting tempos. Pinto and Logan Richardson are both very effective sololists throughout and the rhythm section works well together. Very much worth a listen.

You can count me in with a download.

I purchased this one around the time that it was released and agree that it is a fine recording. I was also impressed by Pierre Christophe, who I have also heard favorably with the Dutch saxophonist Benjamin Herman.

Bill Frisell.

In the past two weeks I have purchased a few of the recordings mentioned in this and another thread related to the Chicago scene. I started by listening to tracks from the recordings by Jackson, Ajemian, Reed, etc. on Rhapsody. I really enjoyed what I heard and felt compelled to order a bunch of the CDs. They are just starting to arrive now and the only one I have been able to spend any time with is Jason Ajemian's Delmark recording. It is great how much good music is coming out of Chicago and how distinct the sound is from a lot of what I hear from the east coast scene. Keep the recommendations coming!