relyles

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!

Thanks for the personal invitation. I will participate as well via download.

I took a lunch time run to my favorite brick & mortar jazz retailer and picked up the following: Steve Lantner Trio (w/ Joe Morris, bass and Luther Gray, drums) - What You Can Throw - $2.99 (I actually do not know anything about Lantner, but figured a hatology release for that price is a rare occurrence) Mario Pavone Double Tenor Quintet (with Jimmy Greene and Tony Malaby) - Ancestors - $14.99) Don Pullen - New Beginnings - $6.99

Jimmy Greene : Gifts And Givers William Parker : Petit Oiseau Prince Lasha : Inside Story

I have been a fan of Greg Osby for over twenty years and was very excited when he told me that he was starting his own label. For one, it had been several years since Osby’s last release on Blue Note and I wanted to hear what direction he was moving in. Second, Osby has always displayed a good ear for young talent. The first release on the Inner Circle Music label was Osby’s own 9 Levels, which continues Osby’s pattern of producing compelling music. The label recently released the first batch of recordings by some of the other artists on the label. Most of the artists are new to me, but based on my confidence in Osby’s judgment of talent, I have purchased three so far, and plan to purchase the rest eventually. The past two days I have been listening to Jacob Yoffee’s Dead Reckoning. I had never heard of Yoffee before, but he is apparently a protégé of Gary Thomas. There are a couple of familiar musicians on the disc. In addition to Thomas playing flute on two tracks, George Colligan plays piano throughout and trumpeter Sean Jones appears on two tracks. Any assumptions that all the artists on Inner Circle will have an approach similar to Osby’s do not apply to this recording. The music is comparatively “straight”, but Yoffee’s compositions are very interesting. Yoffee’s saxophone playing is impressive, with a tone not too dissimilar from Gary Thomas, just a bit softer. George Colligan is also impressive throughout. This one is recommended. I also just picked up the releases by vibraphonist Michael Pinto and saxophonist Logan Richardson. These are the only two artists on the label I had some previous exposure to from Richardson’s Fresh Sound New Talent debut recording. I have only had a chance for a somewhat distracted hearing of the Pinto and have not listened to the Richardson at all yet. I plan to post comments once I have had a chance to absorb both releases. I also plan to purchase the remaining three or four releases on the label in the near future and report on my listening.

I never received my discs or a return phone call.

I listned to all but the final track of this one last night on Rhapsody. As Nate said, it is a much more "straight" recording than I expected based on my prior exposure to Hess. Nonetheless, the performances are consistently strong. I am going to have to revisit this one for further listening at some point.

I let my impulses get the best of me and placed an order for the following: Where The Sky Ended - Richard Grossman (Hatology) The Eighth - Cecil Taylor (Hatology) Proklamation / Farewell to Sweden - Per Henrik Wallin (Hatology) Even The Sounds Shine - Myra Melford (Hatology) By The Law of Music - Matthew Shipp (Hatology) Marc Copland And... - Marc Copland (Hatology)

Has anyone else heard Inner Cry Blues and have any reactions to share?

From my recollection the sound on the Stevens is a little rough, but the playing very good.

A big strong HELL YEAH on that one! Thanks for the heads-up. I'll add this to my list. I looked at it on Amazon a moment ago and there's no real info. I don't recognize the cats. Also, where's the Cellar? The Cellar is in Vancouver and I heartily join in the praise on the Cellar Live date.

Agreed. I purchased that set when it first came out and listened to all five discs in one sitting right away. That box set enhanced my appreciation of Lyones exponentially. Before that, the only Lyons I heard was with Cecil Taylor. Since, I have purchased several of his other dates as a leader and can really hear just how significant he was. I also recommend the Henry Grimes trio recording with David Murray and Hamid Drake. Excellent listening experience.

Yes, as far as I know it is legit. Some nice titles on the label - which I believe focuses on live recordings. The owner, Jan Strom, has also compiled what is arguably the definitive Jimmy Lyons discography.