relyles

From one Dewey fanatic to another ... DEFINATELY!!!!

I think generally you will find that the jazz torrents that tend to generate the most interest are from the historically significant artists (Miles Davis probably more than any other), Thelonious Monk, Charles Mingus, etc. There is actually a wide variety of stuff that gets uploaded, but I suspect the things that gain the most interest also appear to those members who are not necessarily hard core jazz heads.

Archie Shepp - Steam

Ron, Do you mind if I copy and paste your Amazon review here? Guy Forgot I had even written one. Not at all. I hope it is relatively coherent.

I have not listened to this one in a while, but recall enjoying it when it was first released. I had a similar reaction to the interpretation of "A Love Supreme". Maybe it is time to give this one another listen.

I recommend checking Jazz Improv magzaine's New York Jazz Guide, which is available as a free download at the website, Jazz Improv. It has a fairly complete listing of the events at most of the NYC area venues for the entire month.

One of my favorites among the more recent Rollins recordings.

I have been a fan of his since the Levert days. I also had an opportunity at least once to hear him live. He was a very good performer. In a genre where many seem to be successful without any actual talent, Gerald had a very strong and recognizable voice. He will be missed.

I have ordered from them at least once in the past and had no problems. In fact, I was surprise whent he Cd arrived from France in less than one week from the day I placed the order.

Try a Dave Liebman/Ellery Eskelin disc called "Different but the Same" on Hathut. His drumming on there is incredible. I have that disc and enjoy it a lot. I simply did not notice Black as much on that disc.

The only drummer I can recall drawing my attention in a negative way is Jim Black. I have heard him on recordings with Ellery Eskelin and a disc with Kris Defoort and Mark Turner. I always seem to notice him - and react negatively. I probably need to give him more time.

I had wanted to check out that show when Greg Osby was scheduled to perform with him. But then Osby was born and my wife had a baby this week. Glad to hear it was good. I enjoy the early recordings with his group Maono, such as Metamusicians’ Stomp. I also enjoyed the recordings with James Newton, X Man and Good to Go, a Tribute to Bu. The recent duo recording with Osby on Tum, Low Blue Flame has some very interesting moments. Finally, although Nate panned it, I actually enjoyed My Friend Louis.

Alarms & Excursions. Terrific recording!

Not sure if you do vinyl, but a seller on www.gemm.com is listed as having the LP in stock for $23.00.

So you have a copy of the unissued session?

It is a good one, but still unmistakenly "Lacy"

Sounds like Lacy just may not be your cup of tea.

I received my discs over the weekend.

Flurin - thank you for the help, but there is no link. The info on Movies Too is what was provided by Aggie87 on this thread. I will certainly add the info on the original release in the first update, which I will probably start working on soon since I have finished the first draft of a Mark Turner discography.

Got the url? Couldn't find it on the site. It's there Jazz Discography.

I had thought about working on one myself a while ago, but I believe I did not because of an understanding that one of our board members was compiling one.

I have completely enjoyed what I have heard so far.

Here is the previous thread. Kullhammar

I am late in fulfilling my listening/commenting responsibilities and I apologize. Following are my initial impressions on the disc typed while listening to the disc on my office computer. 1. I believe that is Afro-Blue slowed down with a Latin groove. It is an infectious little groove. There was nothing about either the tenor, piano or trumpet solos that was especially remarkable, but they were effective nonetheless within the overall sound of the track. I can not identify any of the participants, but it was an enjoyable track. 2. While listening to this track I was not certain exactly how many saxophonists were playing, but I really enjoyed the relaxed maturity that they all seemed to bring to the piece. Nothing flashy or ultra advanced, but sincere. A few of the saxophonists sounded familiar, but not enough for me to attempt any identification. 3. Saxophone–guitar–bass-drums quartet. Swinging track with concise statements by the saxophone, guitar and bass. Again, nothing that on first listen makes me say “WOW”, but pleasant on its own terms. 4. Brief uptempo track with decent trumpet solo. It was over before it could make a real impression on me. 5. Other than piano, I do not have much experience listening to solo performances. This track starts off with several solo statements by sax, piano, violin, clarinet which although interesting probably require more than one cursory listen to ascertain how they fit together. The exchanges between the saxophonist and pianist that follow seem a bit more connected. Overall the track felt like something was missing. 6. Sounds like a historical recording. Not the type of thing I have had much exposure to. 7. Another track with a nice laid back groove. This time it sounds like a larger ensemble. The soprano (clarinet?) solo with support from the brass was tasty. I like the arrangement. The band sounds well rehearsed and at the same time the arrangement holds the listener’s interest. Solid track. 8. This track has a country music feel to it. That is probably a result of the violin solo that starts the track. The piano solo gives it more of a blues feel, but when the violin returns, so does the country. The violinist has an obvious command of the instrument, but this is not something I would likely be motivated to listen to again. 9. Saxophone trios always get my attention, but I was fooled by the beginning of this track. The first tenor solo sounds a little like Joe Lovano. I am not certain what the instrument is that takes the second solo. Could be a guitar with a lot of distortion. I am not feeling that sound. The bassist and drummer are playing some very interesting things in support of the soloists. I really liked the saxophonist, bassist and drummer. I think the guitarist(?) will take a few listens for me to appreciate. 10. A historical sounding track with that “chugging” swing rhythm. The tenor saxophonists sounds like some seminal artist that I should know – but I don’t. In any event, he/she is very impressive. Sounds like someone that I would enjoy listening to in more depth if I had the time. 11. I love the sound of the bass clarinet. Round Midnight. Is that Dolphy? No. Whoever it is can play. Nice sound and feeling. Great track. I want to hear more. 12. The organist got my attention within the first ten seconds. Sounds like he/she is not overly influenced by Jimmy Smith. The sound quality of this track is affecting my ability to appreciate it on first listen, but this is something I think I would enjoy listening to closer. I have no idea who any of the participants are. The saxophone and guitar solos did not say a lot to me, but the organist was very impressive. 13. I am a fan of jazz guitar, but I don’t listen to guitarists anywhere near as often as I listen to other instruments. Stuff like this requires a lot of attention in order to appreciate more than to be able to describe it as pleasant. 14. The opening reminded of Ornette and Pat Metheny’s collaboration, but obviously it is not. Surprisingly, the soprano sounds somewhat familiar. Actually as I listen closer I am pretty certain it is a clarinet. I am also pretty certain that I have heard the alto saxophonist as well. Definitely influenced by Ornette – if it is not him. Although I hear some quotes to familiar tunes, the song seems largely improvised. This one got my attention. 15. I was distracted while listening to this track. Maybe that is why I felt like it seemed to meander without really saying anything. It probably deserves a somewhat more focused listen at another time. 16. I can hear the room in this live performance. Very solid bop based alto that I can not identify. I can always find something to enjoy about this kind of music – even if it is not necessarily what I listen to every day. 17. Is the track skipping? It must be.

The following quote is credited to Larry Kart, former deputy editor-in-chief of Down Beat Magazine, in the press kit available on Schweizer's web site. "Thank you for the music. You are a very important musician for at least three reasons: because the music itself is new, intense, and fascinating, because it's being made of personal organic necessity, and because other gifted musicians obviously find it fascinating to play."