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I recently received an email from Ron Horton. The new FSNT disc is available from the Fresh Sound website. Ron also told me that he should have copies of the disc when he returns to NY from a tour.

I am a dedicated Murray fan and own many recordings featuring him. As someone new to Murray, you might find the discussion in this thread (both pro and con) interesting: David Murray, general discussion

I have it. Nothing groundbreaking, but very solid release. It is the kind of recording that builds anticipation for future releases more than excitement over this one.

Matthias Bätzel Kyle Koehler

I have several of Heid's recordings and he is very good. Didn't he study with Young for a minute?

Are you sure that was Goldings? I know Smoker appeared on a live Soul Note recording under drummer Phil Haynes' leadership (I think the title is Live Insurgency) with Jeff Palmer on organ. I don't know if Smoker and Goldings ever appeared on a recording together.

There was a BBC broadcast of this group's performance at the 2004 London Jazz Festival. Possibly the ECM recording comes from the same tour. Good music.

That is a pretty strong live performance.

I purchased copies of both directly from Jim a while back, so I assume he can take care of you.

I heard the recording that preceded New Africa Suite and enjoyed it quite a bit.

I will be looking forward to that one.

By coincidence I just heard one track from this disc. Really terrific. I have one Allan Chase recording as a leader. I was not aware that he plays baritone as I always thought he was primarily an alto sax player. The track I heard was great and I will be seeking this recording out.

The sound on my Arista/Freedom LP of Brilliant Circles also sucks.

I have heard the Lester and it is a good one. The only time I have heard trumpet in this orbit and it is a nice touch.

I have not heard enough 2005 releases to credibly state what I believe the best of the year was, but I did not find this recording anywhere nearly as offensive as you seem to have. I have not had the opportunity for real "critical" listening, but in the few times I played it while driving I found it to have some substance and I am looking forward to a closer examination.

I can't answer your question about the amount of interest in Jensen, but I can state that I have enjoyed her playing in all the settings I have heard, including one of her own discs, Project O and with Virginia Mayhew and Johaness Enders.

This has always been one of my favorite Hutcherson recordings and I echo all the comments about Stinson's contribution. Wonderful.

Encouraged by reading this thread for the first time yesterday, I listened to the recording once last night on Rhapsody. Very nice. In some respects Griffin is not nearly as appreciated as he should be. I have heard a good amount of Griffin recordings, but not many of his earlier recordings under his own name. Listening to this last night made me want to really dig into Griffin more than I have. Thanks for the recommendation.

I wondered that myself when I first saw it. Anyway, I also have the Arista LP and it is a winner.

I have Lester Leaps In and Never Let Me go. I think all of the material on the three Steeplechase discs was taken from the same recording sessions. Consistently rewarding music on the two discs I own.

Wasn't Etudes with Geri Allen?

I was reminded yesterday while listening to a Gonzalo Rubacalba performance that at times I find David Sanchez to be a very exciting tenor saxophonist to listen to.

I listened to most of it once on Rhapsody a while back and really liked what I heard. I have not had the opportunity since then to either purchase the disc or listen further on Rhapsody.

I have enjoyed reading this thread so far. I was giving it some thought this afternoon and it came to me that in my own experience with a few exceptions I have a difficult time distinguishing between most of the saxophonists that would qualify for consideration under this thread based solely on their playing of the saxophone. Admittedly, that is partly because I have not spent the time to listen to many of contemporary saxophonists in depth such that they would be come readilt identifiable to me simply by hearing their playing in whatever context. However, I still think most younger contemporary saxophonists have similar sounds and have yet to develop original voices. As a result, I think I have formed my own preferences based instead on the contexts in which I have heard them. I spend more time paying attention to compositional approaches, the overall sound of the music and their relationships to other preferred musicians than I necessarily do listening to the saxophonists' individual playing. I realize that this is probably a result of my own listening habits (i.e. these days I rarely have opportunities for critical listening), but it is a thought I felt compelled to share.

There really is a bunch of stuff available from this time period and IMO as Jim suggested much of it is worthwhile. Some of my personal favorites include a couple of recordings I have of performancesf from 1980 in Warsaw and Umea with this personnel - Sonny Rollins (ts), Mark Soskin (p), Jerome Harris (el-b), Al Foster (d).