relyles

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.

I am sorry. I can't help but wonder why this particular obituary merits a thread of its own? There are a few other obits that were posted directly into the McLean thread, but not this one. Is it to generate discussion about McLean or Crouch? If the latter, it seems to be a waste of energy and brain waves. It is obvious that Crouch is not a fan favorite in these parts so why do we keep looking for opportunities to discuss him? Thanks for allowing me my mini rant.

Is anyone familiar with this recording? It is a 2003 release on the ILk label. The personnel looks interesting so I am curious whether anyone has heard it, or even heard of it? More info from the Ilk website: Line-up Kresten Osgood - Drums Dr. Lonnie Smith - Hammond B3 Anders Provis - Ghost Percussion Michael Blake - Saxophone About this record Hammond Rens is a massive organ-sax-drum workout (with a pinch of "Ghostpercussion"). This double CD almost reaches hysterical energy climaxes and also has some beautiful soulful zones. Not your typical organ record. No clichees. its soul and jazz but with a fresh sound. Hammond Rens represents some of Lonnie Smiths best playing since the 70´s. A must have for any organ- and

I won't take the bait on the comparison to Murray, but what I have heard confirms for that Krystall is indeed a strong player. By coincidence just this past week I had taken Big Drum off the shelf for further investigation. Maybe it is time for me to check out something else like the Monk recording.

I can second (or third?) the recommendation for Old Time Revival. I purchased it directly from Dennis when I caught him at Tonic w/ Ellery Eskelin a couple of years ago. I will have to check out Tim Green.

Is he the same Tim Green that appeared on a recent Dennis Gonzalez recording?

My mistake. Yes, I read a favorable review.

I have not heard it yet, but I did a very favorable review somewhere. I also enjoyed the previous trio recording and will be picking this one up eventually.

I just got the new Bunky Green recording in the mail yesterday. First let me say that I am impressed with the speed of delivery. I only ordered it from the Label Bleu website on Thursday and it arrived all the way from France in only a couple of days. Anyway, I am listening to it this morning at work and I am really enjoying it so far. It is a shame that someone as talented as Bunky Green does not have the opportunity to record more often. I believe his last recording as a leader was recorded in 1989. On this quartet date Green is backed up by the impressive rhythm section of Jason Moran, Lonnie Plaxico and Nasheet Waits. There are four Bunky Green originals along with "It Could Happen To You" and "Soul Eyes". For someone who basically came out of the bop/hard bop period Green has a real nice structured edge to his approach which is the perfect fit with Jason Moran’s similar edgy approach to piano. It is easy to hear where Steve Coleman (who produced the recording) is influenced by Green. The disc is short by today's standards at 44 minutes, but it is a joy to hear something new from Green. Hopefully Mr. Green will get the opportunity to record more often and maybe even travel outside of Florida for a few live performances.

I have listened to Ron Horton's new Fresh Sound New Talent release a few times in the past week and so far I think it is very good. For fans of Horton, this may be his strongest recording as a leader yet. As always there is an emphasis on strong compositions, whether by Horton or other composers. A particular highlight for me is the opening version of Andrew Hill's "Yellow Violet" from the Dance With Death recording. Surprisingly Hill recordings are not covered by other musicians very often, but Horton seems to always include at least one on his recordings and they are usually good interpretations. The personnel in addition to Horton is particularly impressive. John O'Gallagher (as), Tony Malaby (ts), Frank Kimbrough (p), Mike Sarin drums and both Masa Kamaguchi and John Hebert on bass. In addition to the distinctive compositions the individual contributions of all the musicians is very good. All the solos tell consice compelling stories and overall the musicians play well together - sounds as if they spent the time to make sure everyone was comfortable with the material. Easily recommended to fans of the musicians involved.

I bought his first Hyena recording on the strenght of a positive reaction to hearing him with David Murray. I only listened to it once in the car a while ago, but that initial audition was a little disappointing for me.

But the music is sooooooooo good.

I watched some of it Wednesday night. The makeup was better than I expected it to be. I got the impression the father in the white family wants to take it upon himself that racism practically does not exist, or at minimum black people go looking for racism where it does not exist - sort of a self fulfilling prophecy. I thought the expressions on the faces of the black family were priceless when the white father practically said that he hopes someone refers to him with the "N" word so that he can show how to diffuse the situation.

My recollection is that the songs are different, but I have never compared the two.

Any word on when the Chris Byars octet recoridng will be available?

I just found last week a copy of the OOP box set, Alive for only $50. Chapin was very inspirational. All of his Knitting Factory work is worth hearing. I had wanted the box set for a while, but because it was OOP i never saw it anywhere for less than $100.

The Bunky Green Label-Blue release, Another Place is now available to be ordered from the Label Bleu website.

I actually like "Love Jones".

I have heard him in a couple of different contexts and liked what I heard. I have heard favorable things about the Fresh Sounds NT release.

McPherson also had a long solo during the first set that did not do much for me. Hill did not seem to take as many, or as long solos as everyone else. Also, sometimes he was slightly drowned out in the mix by Herbert and McPherson. What he did play and I heard, however, I enjoyed immensely. I should have also mentioned Tolliver. I heard him a couple of years ago with the Music Inc. reunion. His playing was good that night, but he seemed a little rusty from not playing in public often. His playing tonight was much stronger that the last time I heard him. So much so, that I am going to try to make one of his big band gigs in the future.

I was somewhat reluctant to take the two hour drive alone into NYC to hear Andrew Hill’s quintet at Birdland. Eventually, with the surprising encouragement of my wife I decided to enlist my father (who lives in Manhattan) to join me, selected a few recent additions to the collection for the ride and made the trip. I am glad I did. Time Lines seems to be receiving a favorable response from both fans and critics, but in person the quintet really brings this music to life. Everyone played well. Greg Tardy was particularly impressive. This is the third time I have heard Tardy with Hill and each time he seems to be getting better. He seems to be finding all the right spaces to play within Hill’s quirky rhythms – no doubt enhanced by several years exposure to Hill’s music. Of special note was a tenor feature on a very familiar Hill ballad. Tardy’s tone was simply gorgeous and his sound filled the room. I should also mention Eric McPherson’s contribution. I have had the pleasure of experiencing Mr. Hill live about ten times over the past 18 years. One thing I realized tonight was that the drummer is very important to Hill’s individual way of approaching rhythm. This is the first time I have heard McPherson live, but he brought something new to Hill’s music. At times he and bassist John Herbert seemed to be playing two different songs, but on closer examination I could hear that the two were locked in on the underlying groove in a way that was possibly felt somewhat more than heard. Very interesting. My only disappointment was that the set at just shy of an hour seemed to be a little short considering the amount of driving I did and the amount of money I spent. Nonetheless, what I did hear was worth the trip. Thanks again Mr. Hill. Playlist for the drive Andrew Hill - Time Lines Ron Horton - Everything In A Dream Thomas Chapin Trio plus Strings - Haywire Mary J. Blige - The Breakthrough (For late night driving alone I often need a little booty shaking music for that last leg to bring me home)

I am.

The Hutcherson recording was my first and I believe only exposure to Stinson. I was thoroughly impressed and wish he had the opportunity to record more often.