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Both Volumes of Spaulding's self produced live recording are well worth hearing.

I have listened to that one a few times in the past couple of weeks.

Mr. Spaulding is still very much alive and performing last I heard - in particular in and around Brooklyn.

I went to the link in the first post, but did not know where to find the list/sessionography of all the NDR jazz workshops. Does that exist somewhere?

And that is a shame.

If it was in deed Mr. Spaulding I wonder why he continued to play in the Octet for so long? For what it is worth, I loved James Spauldings' contribution to the Octet. I had a brief conversation with him at the Litchfield Jazz Festival a couple of years ago and found him to be a very gracious and warm person. Definately, an underappreciated master. I have tried to purchase just about all of his recordings as a leader and thoroughly enjoyed all of them.

I have a recent reissue of this on vinyl that I need to listen to. I love Billy Harper. This thread may be just the motivation I need to finally spin that LP that I have owned for quite a while now.

I saw it last night, but did not stay until after the credits. I caught the 12:01 a.m. show and after 2:00 a.m. when the movie ended all I wanted to do was go to bed.

I was just listening to an interview David Murray gave in 1986 before a performance by his quartet (Hicks, Drummond and Blackwell) at the Montreal Jazz Festival. He actually mentioned a review by our own Mr. Kart of a Chicago performance. Murray said that Larry described the performance as "crap" and that the performance motivated him to play stronger the next day. No controversy here. I just thought it was an interesting footnote to this particular thread. Murray had nothing negative to say - he was just citing it as an example that sometimes an artist can't get too bothered by negative reviews from critics. By the way, listening to the performance right now and it sounds pretty good to these ears.

with EAC you can extract a "range" as opposed to tracks With that you can extract only that portion of the track you want without needing the extra step of editing the WAV afterward.

Downright annoying.

All of the families? Not anyone in mine that I know about, but it is possible.

My family suffered a loss on flight 93 and every time I see the preview I get a bad feeling. I don't think this is a movie I would ever want to see. That is a time that my family would like to avoid reliving.

I took a jazz history class as an undergraduate in the mid - late eighties. I don't remember who the professor was, but our curriculum was basically the Smithsonian collection. I do not recall him varying from that set, but I do remember having individual discussions with him where I learned that his knowledge and interest was much broader. he even loaned me Sun Ra's Heliocentric from his private collection to listen to. The class also included a section on music theory. I now regret the fact that I rarely went to the theory section (which was approximately half our grade). If it was not for the fact that i did so well on the history portion of the class I might not have passed. To be honest I think at the time I learned more on my own. This was when my obsession first started. My school had a very good music library, which possessed just about every issue of Down beat published and a very extensive collection of jazz LPs. I used to spend hours reading old issues and listening to music in the library.

I have always enjoyed Freeman's playing. I first heard him on a 1982 Elextra Lp titled The Young Lions, which featured musicians such as Wynton Marsalis, Jay Hoggard, Hamiet Bluiett, John Purcell and others I can't remember. I think I really started enjoying Freeman from his India Navigation LPs, Kings of Mali and The Outside Within and then finally on the three Leaders recordings (someone above forgot about Unforseen Blessings - and I think there may have been one more live recording.) Finally, I have also enjoy the recordings with father and son Von & Chico playing together. The latest Chico Freeman reccording (other than live stuff) that I have heard is a 1994 date on Contemporary with Arthur Blythe titled Focus. Nothing monumental, but I do recall enjoying it.

Thank you very much.

Thank you very much KH1958. Do you happen to know the recording date and location and perhaps the issue date and number?

Thank you Tom.

I know. I am actually compiling the discography with Osby's consent and have been communicating with him directly.

I am working on an Osby discography and there are a few recordings featuring Osby that are not in my collection and I can not locate a reliable source for the necessary session information. If anyone has any of the recordings below in their collection and would be willing to email me scans of the necessary discographical information from the CD booklets I would be be very appreciative. OSBY RECORDINGS AS A LEADER Greg Osby Sound Theatre 1987 JMT SIDEMAN APPEARANCES Mark Helias The Current Set 1987 Enja Cecil Brooks, III The Collective 1989 Muse Franco Ambrosetti Movies, Too 1988 Enja Franco Ambrosetti Music For Symphony 1991 Enja Glenna Powrie Asha 1990 Muse Bob Belden Purple Rain 1994 Blue Note Bob Belden Shades Of Blue 1995 Blue Note Jhelisa Anderson Galactica Rush 1994 Dorado Matt Cooper The Rough And the Smooth 1995 Dorado Terumasa Hino Acoustic Boogie 1995 Toshiba EMI Cindy Blackman Trio + Two 1991 label unknown Hino/Kikuchi Moment - Live At Blue Note Tokyo 1996 Toshiba EMI Jim Hall By Arrrangement 1998 Telarc Peter Herborn Large Two 2000 Jazzline Uri Caine Goldberg Variations 2000 Winter & Winter Yo Miles! Sky Garden 2004 Cunneiform Records Masabumi Kikuchi/Greg Osby Beyond All 2005 55 Records Project Z Lincoln Memorial 2005 Abstract Logix

I am glad to hear Moncur sounded good. His playing on Khan Jamal's recent CIMP release, Black Awareness was somewhat disappointing to me. All of his solos sounded very tentative and had me wondering whether there was a drastic reduction in his chops. Glad to hear that may not be the case.

I have it. I have not listened to it in a while. My recollection is that it is two side length pieces, with typical Hill playing.

No intersection.

Other sideman appearances worth checking out: Reggie Workman - Summit Conference Greg Osby - The Invisible Hand Rahsaan Roland Kirk - Domino Also - don't discount Hill's post Blue Note recordings. I realize it is not the prevailing opinion, but IMO recordings such as Shades are as satisfying as anything Hill recorded on Blue Note.

I listened to a little more than half the disc on Rhapsody the other day while working on the computer. I have been a big fan of Cassandra Wilson since her M-Base days, but what I heard of this recording was a little disappointing. I am not sure I can completely buy into the new direction she seems to be taking with this recording. Nonetheless, I will reserve my final opinion until I have had an opportunity to listen to the recording more closely in its entirety.