relyles

I have not hear a lot of Baikida Carroll, but what I have heard I enjoy a lot. The only official recording I have is Marionettes On A High Wire which thus far has been my primary introduction to Carroll. I do also have several radio broadcasts featuring Carroll in sideman appearances with musicians like Muhal Richard Abrams, Dewey Redman, Marty Ehrlich, Tim Berne and Julius Hemphill that are very impressive. For a while now I have been telling myself that I should investigate his music further. I am going to have to pick up some of the other titles mentioned in this thread.

I use my Phillips CD reorder to transfer from cassette to CDR all the time. You should be able to do the same if you are able to go from LP to CDR.

I have seen the Fort Apache band live and have several of Gonzalez recordings. Ejoy them all - especially the ones with John Stubblefield.

I consider myself a Hillaholic. I enjoyed the big band disc, but think it is somewhat more dense and ragged than most of his smaller group recordings and may not appeal to someone with limited exposure to Hill's music. I saw the big band live when it first got together and think it is a much more satisfying experience live. The recent release featuring Hill's Jazzpar Octet, The Day The World Stood Still has some similarities, but I think the writing is stronger - its a little less dense and more melodic. Its probably also a function of it not being as large a group.

Maybe similar, but not by the same artist. The picture of "The Bassist" that I use for my avatar was painted by Ernie Barnes. I am fairly familiar with his work and know that the picture you posted is not one of his.

A very good recording featuring Nistico is Don Menza's 1981 Palo Alto LP, Hip Pocket. Instead of his usual tenor Menza plays alto and baritone while Nistico plays tenor. Very strong compositions and playing by the entire group.

I have also heard it and enjoy it. Not necessarily an exceptional recording, but very good. Golson's compositions and playing are always worth hearing.

I have four Anthony Wilson recordings and enjoy them all. The first three, Anthony Wilson, Goat Hill Junket and Adult Themes are large group recordings that focus on Wilson's composing and arranging. The last one, Our Gang is a very impressive organ trio recording that shows how capable a guitarist Wilson is.

I agree with the positive feelings about both Black Water and Blood Sutra. I have another Iyer disc that Manhanthappa plays on, but I have not had a chance to listen to it yet. Other than those, if you can find it I would recommend Belgian guitarist, Pierre Lognay's recording on the Lyrae Records label, The New International Edition. In addition to the leader and Mahanthappa, the disc also features personal favorite Mark Turner on tenor. The music is somewhat reminiscent of some of Steve Coleman's music, who has influenced a few musicians in France and Belgium. Mahanthappa gets in quite a few burning solos on that disc.

A friend let me hear it before purchasing, but I know that Downtown Music Galllery now has it in stock for $60.

That may have been his name. Too much applause the one time the band was introduced for me to hear it clearly.

I have had a limited exposure to Anthony Braxton's voluminous recorded output. Of the Anthony Braxton recordings that I have heard, I prefer his more “straight ahead” projects when he interpreted the music of others. In particular, I really enjoyed his recordings of compositions by Monk, Six Monk’s Compositions (1987), and Andrew Hill, Nine Compositions (Hill) 2000. The core unit on the Hill CIMP release is also on this four disc set - Kevin O’Neil on guitar, bassist Andy Eulau and percussionist Kevin O’Neil. I had the opportunity to listen to all four discs today and my initial reaction is very positive. Braxton’s approach to these standards is fresh and engages the listener. His distinctive playing on various saxophones personalizes the tunes and Kevin O'Neil is impressive throughout. I know this disc is not as challenging as most of Braxton's other recordings, but I have a feeling that upon repeated listens this will easily be one of my favorite releases for 2004.

Every now and then I need a fulfilling live music experience to restore the thrill of the music for me. Music is part of my life from the moment I wake up in the morning until I go to bed at night. Despite the vast amount of music I am constantly exposed to, not much of it captivates my attention and recently I have not felt the same passion about the music as in the past. Sunday at the Charlie Parker Jazz Festival in Tompkins Square Park was one of those days that reminded me why it is I love this music so much. Despite arriving later than expected and therefore being forced to stand for the entire four hours, my father, uncle and I had a day that brought the joy for all of us. When we arrived Terri Lyne Carrington’s group was already playing. She was joined by Gary Thomas on tenor, Gregoire Mairet on harmonica, pianist Mulgrew Miller and bass player Scott Colley. Carrington’s set focused on original music and overall it was a satisfying set. Thomas is a little stiff to watch, but his playing was much stronger than the last time I saw him with Herbie Hancock. Miller, as always, was impressive and Carrington was her usual musical self as she led the group from the drums. After Carrington was Frank Morgan’s quartet with John Hicks, Curtis Lundy and drummer Billy Hart. Of the four groups, Frank Morgan was the only one I had never heard live before. Morgan played a set of all standards – primarily tunes from the bebop era (such as “Round Midnight” “A Night in Tunisia”) and a terrific rendition of Wayne Shorter’s “Footprints”. Morgan sat while he played and I suspect he does not have the same wind that he may have back in the day. Instead of trying to overwhelm us with his Bird influenced technique, he focused on his sound to convey a feeling and gave a lot of space to the other members of his band – in particular John Hicks who was all over the piano. The energy level increased exponentially when Jimmy Heath’s group hit the stage. The City Parks Foundation, which is the current presenter of the festival, commissioned Heath to write a composition dedicated to Charlie Parker titled “Bird is the Word”. Although enjoyable the composition itself was not the focus of the set. It had sections which varied between the bop language, blues, Latin influenced and some other things which are reminiscent of Heath’s writing. Interesting tunes, but they primarily served as a launching pad for incredible soloing by Heath’s hot young band that included Antonio Hart, trumpeter Sean Jones, a trombone player whose first name is Vincent (did not hear his last name), Jeb Patton on piano, Kiyoshi Kitagawa on bass and the always energetic Winard Harper on drums. The stars of the set were Hart and Jones who seemed to be competing with each other to see who could get the most energetic audience reaction following each of their solos. The trombonist was not nearly as animated as Hart or Jones and did not get the same response from the audience, but he was very impressive. I think what made Heath’s group so enjoyable was that the members of the band were obviously enjoying themselves and playing from the heart. Each member had a big cheesy grin on their face from the moment they started playing and seemed to enjoy the playing of the other band members as much as, if not more than the audience. Great! Kenny Garrett’s quartet was the final act and I think they did an abbreviated set because things were a little behind schedule. Not to worry, in the short thirty or so minutes they played, they blew hard and with passion. Garrett may be one of the most soulful saxophonists around. He has a monster technique, but he does not seem to rely on it much. Instead, he plays with the passion of someone who thinks this every time he puts the saxophone in his mouth could be his last. The young band playing with him, pianist Carlos McKinney, Chris Funn on bass and Ronald Brunner on drums matched his energy level throughout. They ended the set with an extended workout on what is their theme song, Garrett’s “Happy People” and by the time they finished with what may have been their fifth false ending everyone in the park was on their feet clapping and yelling their approval. It may sound cliché, but maybe the spirit of Bird was in the air. A great day of music. Thank you Mr. Parker.

I heard the disc and was very impressed with his interpretations of Monk and his playing on both alto and baritone.

Charlie Parker Jazz Festival 2004 IN ITS 12th YEAR!: Saturday, August 21, 2004 Marcus Garvey Park Jimmy Heath Donald Harrison Vanessa Rubin Rachel Z Sunday, August 22, 2004 Tompkins Square Park Jimmy Heath Frank Morgan Kenny Garrett Teri Lynne Carrington Showtime on both days: 3 to 7pm The achievements of Charlie Parker and his contemporaries in transforming swing and forging the post-World War II modern jazz idiom of bop are often under-exposed today. The Charlie Parker Jazz Festival encourages appreciation of this seminal American artist through a lineup of some of the biggest names in jazz today, right in the neighborhoods close to where Parker lived and worked. City Parks Foundation is proud to present The Charlie Parker Jazz Festival under its auspices since 2003.

I have all of Byron's recordings as a leader and this is one of my favorites.

Malcolm X Jazz Suite may be my favorite Blanchard recording.

I am interested.

In a perfect world I would have had the time to listen to this interesting compilation several times to really let the music sink it. Unfortunately, I do not live in a perfect world and I only had a chance to listen to most of the music on the disc twice. Following are my thoughts written as I listened to the disc the second time while home alone and sitting on my couch. 1. Brings to mind European improvisers like Gianluigi Trovesi. The playing is not blues based. Interesting, but not something that is grabbing me initially. 2. Solo piano. I hear hints of a bebop tune in there. The pianist has strong technique. This is a slightly schizophrenic piece. 3. Starts off as a piano sax duet, but the bowed bass comes in a little later. This track is not a bout a flashy display of technique. Instead, it’s about conveying a felling. It’s a nice tune, but it also did not generate much of a reaction. 4. In the beginning I like the groove and the interaction between the lead sax and the rest of the horns. The way the horns are arranged is both benefit and drawback. During the first sax solo they diverted my attention away from the main soloist. 5. The opening did not do a lot for me, but once it settled into the groove I liked this tune a lot. Very good trumpet solo. 6. Piano/sax duet. Very nice conversation, but would have enjoyed it more if they played at the same time more often. 7. More extroverted Monk sounding tune. Tenor sounds a little like Bennie Wallace in his/her tone and intervals played. I like the pianist’s comping underneath tenor solo. A real foot tapper compared to much of what precedes it. Piano stays right there with the tenor while bas and drums keep it swinging. I like the pianist. Sounds like someone slightly influenced by Don Pullen. He/se can take it out, but remains accessible. Favorite track thus far. 8. Very Sympathetic piano/bass duet playing a standard tune. Sound is a little funny. Almost sounds like pianist and bass player are not together. Charlie Haden? 9. By agreement with Nate I will not comment on this track since I included this exact track on a blindfold test compilation I did for another BBS last month. All I will say is that I love this track and the entire disc. 10. I did not like this saxophonist’s sound too much. The tune was played with a lot of energy and passion, but somewhat ragged. Makes me think a little of David S. Ware, but less abrasive. 11. Nice piano trio work. The pianist has a lot of ideas and the bass and drums give just the right support to let him go. Next to tracks 7 & 9, one of my favorites thus far. 12. I am almost certain that I have this recording and if I think about it will come to me. I think it is one of the Rodney Kendrick recordings. He is a favorite of mine who seems to have fallen off the earth. Great stuff! By now my wife two kids and niece and nephew have returned home from the movies and any hopes I have of an attentive listen have gone out the same door they came in. 13. Another enjoyable piano trio, but nothing particularly remarkable. 14. I like this guitar trio. Thanks Nate. Overall this was a very enjoyable compilation overall.

Just got mine.

Still waiting for my copy.

I don't hear any similarities between Von and Coltrane's sound. Once I thought I did hear a little of Vonski in John Stubblefield, but that is a stretch also.

I am strongly considering going tonight (Wednesday) since I may have to be in NYC anyway, but I must confess my real interest is seeing Grimes, Robinson and Bartz. The double bill has me reluctant though. A while back I caught the Sam Rivers/Andrew Hill double bill at the Iridium and everything seemed rushed and in the end I was slightly disappointed.

I am a fan also. If you have not heard it, Denis Charles' Captain of the Deep is darn near essential.

I preordered it as well. Really looking forward to hearing it.