relyles

I used to own Duotones on cassette. It was purchased while I was in college, before I became a true jazz snob. At the time that album was "hot" and it was enough to make a few ladies on campus think I was deeper than I really was. After I heard A Love Supreme the cassette no longer had any relevance for me and I eventually either gave it away or simply trashed it.

Here is further information I have on the 7/6/86 performance: Cherry Don - Nu 86-07-06 Münster, 08. Internationales Jazzfestival 1986, Münsterhalle Don Cherry,c,tp,p Carlos Ward,as,fl Mark Helias,b Ed Blackwell,dr, Nana Vasconcelos,per 1 Litho (CW,comp) 25:29 2 Chopin Chopeen (OColeman,comp) 8:25 3 Limbo (MH,comp) 6:10 4 O Berimbau (NV,comp) 5.00 5 Foolish Heart (CW,comp) 12:25 6 Bamako Love 6:05 7 Mopti 7:41

Although it circulates under Cherry's name, the 5/14/86 performance was actually issued under Togashi’s name in Japan on PMC 1103, Bura-Bura.

Most definately worth hearing live. I love his solo piano performances. Wish I could be there.

Thoroughly enjoyed the first disc and eagerly looking forward to the second disc. Also, I plan to hear Kinch live for the first time later this month in NYC.

The discussion about Yarde is very timely for me. I have heard his playing with Andrew Hill's band and enjoyed it. Also, this week I listened to a radio broadcast of a 1996 live performance by Moholo's Viva La Black featuring Yarde, ), Pule Pheto and Roberto Bellatalla. I was very impressed with the spirit of Yarde's playing. As an aside, I think Kofi is a big talent. Loved his Monk recording as well as his contribution on Wallen's recent quartet recording. The discussion thus far combined with the Penguin review has me interested in possibly picking up this Stevens disc.

I have no musical background, advanced ideas or even a basic understanding of music theory. Despite my shortcomings I have thoroughly enjoyed the first two Hewitt releases and look forward to the quintet recording.

A sideman appearance by Brackeen worth hearing in addition to the things he did with Dennis Gonzalez is Paul Motian's Dance, a 1978 trio recording on ECM with David Izenzon I believe.

I once asked Dennis Gonzalez (on the Jazz Corner board) about Charles Brackeen. Here is Dennis' response: It's quite a story, at least the parts I know, and there's a lot more I don't know...but basically, Charles has disappeared from time to time throughout his legendary career, and I've found him twice, once with Billy Higgins' help, and once with an unnamed, mysterious benefactor who wrote a strange letter, anonymously, and told me exactly where Charles was living. This was about a year ago, or even longer. Charles is in various Catch-22 situations. He has been in extreme poverty and near-homelessness since his last Silkheart recordings. The owner of Silkheart Records, Lars Olof-Gustavsson declared Charles dead (again) a few years ago, in DownBeat Magazine, so people stopped looking for him for gigs and recordings. When Billy Higgins was alive, he kept him going musically and helped keep his instruments in good shape for him. Now that Billy has passed, Charles really has no one in LA, where he lives in a tiny room at the back of his sister's home, to get him out and playing. So his horns deteriorated, and Charles' small job (I don't even know what he does) does not pay him enough to save to get his horns working. Without his horns, he can't play or record. Even if he could play and record, his boss does not understand that Brackeen is a long-lost legend of the Loft sessions and New jazz. So he's afraid to ask his boss to let him fly to Texas for a long-anticipated recording. If he could play his horns, even if I went to LA, he does not feel like he would play well, because he does not have a space where he can practice, and no horns to practice with. If I lived in LA, I'd take care of him with my own money, get him his horns repaired, get him a place to practice, and then take him all over the world - there are many many requests for Gonzalez-Brackeen band from many quarters wanting us to go out and tour, record, do workshops, concerts... We've asked for help, but the great success of the finding of Henry Grimes, for example, is not the same story here with Charles Brackeen. It's really an injustice.

Although Rick's other sessionographies for Sam Rivers, William Parker, Marilyn Crispell and David S. Ware are pretty exhuastive and reliable, the Workman entry was abandoned and is far from including everything even for the time period it was active. From what I can tell from a quick review, there does not appear to be much beyond commercial releases. That is just a long winded way of saying that I don't think that just because it is not on the Lopez sessionography that the date has to be wrong. On Blythe's 1993 Enja releases from the Vanguard, Cecil McBee was the bassist.

I have not heard this recording yet, but I have heard broadcasts of live performances of this same group. What I heard sounded like it would be enjoyable to experience live.

I actually agree with Chuck's point - better to get to know the recordings you do have (official or otherwise) than to constantly accumulate a steady stream of recordings that end up being played once and are then tossed to the bottom of the bin. But this applies to all music, not just the "unauthorized" kind. Guy ← That I can understand and agree with.

I don't completely understand the point you are trying to make.

I like that one as well. In addition I enjoyed his writing and the overall playing on Think All, Focus One, One Line, Two Views, and Song For All. All of these recordings are from the nineties. I also have the 1969 Delmark release, Young At Heart/Wise In Time, which I do not have as specific memories about, but I vaguely recall enjoying it.

I purchased mine directly from Mr. Spaulding via email.

I purchased this self released CD from Mr. Spaulding in early June and have been meaning to mention it here ever since. The performances on this live recording come from the same gig as those on Spaulding's previously released Blues Up And Over Vol. 1. Its a quintet date with Dan Faulk (ts, ss), Isaac ben Ayala (p), Eric Lemon (b) and Reggie Nicholson (d). Very solid straight ahead live date that at times is reminiscent of classic Blue Note hard bop, but updated to reflect today. As usual Spaulding is featured on alto sax and flute and he blows with passion and imagination on both. Faulk caught my attention throughout with some very strong solos. Easily recommended to fans of Spaulding and straight ahead jazz in general.

I heard the first disc that featured a different saxophonist. Engaging music, but there was a degree of "sameness" to the compositions. Have not listened to it in a while and should probably listen to it again before commenting further.

Extremely sad news. Me and the rest of my family have been very big fans of Vandross since his days with the group, Change, and his solo debut.

I was thinking the same thing, but never listened to it with the purpose of determining Hemingway's ability to play straight time. The music does swing to me and it is one of my favorite recordings from the past couple of years.

Is it possible that when Allen heard him "some years ago" in New Haven, he could not, but subsequently mastered the art of straight 4 by the time P.L.M. heard him? I suspect the New Haven time of Hemingway's career was fairly early on?

Looking at the track titles on Dusty Groove for both it appears to be the same. Also, I believe the discography in the Tapscott biography only references one recording with Blackburn and Freddie Hill. I have the Fresh Sound CD and my recollection is that it is a very solid date.

For what it is worth, Carter has been performing with his organ trio for a couple of years now, so they should have enough material.

The only Sandke recording I have heard is Inside Out on Nagel Heyer, which I thought was very good. Outside In sounds like it might be in a similar vein and something I might want to check out.

I have been a fan of Lovano since hearing him in John Scofield's quartet in the late eighties. His contributions to the Paul Motian group also caught my attention. For the most part I have enjoyed his Blue Note recordings, but some of his "concept" albums have been less appealing to me. I have not heard either of the discs with Hank Jones yet. I caught him live a couple of times and each time he was impressive. One in particular that comes to mind is a concert at Town Hall where he was a guest artist with Joshua Redman's group. He really showed the young lad how it is done that night. One recording that I have always enjoyed that has not been mentioned is the Enja release, Sounds of Joy with Anthony Cox and Ed Blackwell.

There were several other performances seeded in the past couple of months, that if you have not heard them you might want to seek them out. Consistently engaging music that adds value to Tapscott's relatively slim discography.