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I am a proud owner of this box set also. Although I purchased it around the time that it was first released, I still have not gotten through all seven discs. In any event, what I did hear I enjoyed.

Ben Allison has developed a strong compositional voice. On Buzz the compositions are what make this a worthwhile recording. His voicing for the horns are always appealing and he adds enough twists and turns to keep the listeners interest. Allison is not a standard hard bop/straight-ahead composer, but his music is nonetheless always accessible. Most composers simply develop a head, which serves as a vehicle for the improvisers. Allison’s compositions tend to be more fully developed. While listening to Buzz I got the sense that the solos really served the compositions. That’s probably the reason why after listening to this disc several times throughout the week there was very few solos that made a significant impression on me. That’s not to say the individual contributions of the musicians are not good. Quite the opposite all of the musicians play very well – in particular pianist Frank Kimbrough, who’s solo on the title track reminded me of Andrew Hill with a lot more technical ability. My point is just that for me, Buzz’s value really is as a sum of all of its individual parts. The sum obviously benefits from the fact that all of these musicians are members of the Jazz Composers Collective and as a result play with each other very often. This has breeded a familiarity that is evident on every recording featuring JCC members and this one is no exception. Other highlights for me in addition to Kimbrough’s playing on the title track included Sarin’s incorporation of the drum pattern from one of Al Green’s most famous recordings on “Green Al”, a gorgeous rendition of Andrew Hill’s “Erato” and the mysteriously subtle groove of “R&B Fantasy”. A fine album overall and one that would add value to any jazz collection.

Several respected posters seem to be less than enamored with Mr. Byron. I am curious why? Is it his clarinet playing specifically, or perhaps the projects he has recorded? Maybe you don't like how much hype he received initially from the jazz press? Just curious. I have been a fan since first hearing him in Ralph Peterson's Fo'Tet. Although I recognize that he may not technically be the best clarinetist around, I do enjoy his playing and I have been satisfied with just about all of his recordings. My favorites are probably the first Music for Six Musicians disc and the quartet wtih Frisell, Gress and DeJohnette.

Its a big deal in places other than Texas as well.

Damn! I just ordered it from Stateside yesterday for $16.98.

I picked this one up a couple of years ago. It is very enjoyable. I may have to give it another spin soon.

Spaulding is the man! One of my favorites. I have had this disc for quite a while now and it is indeed smokin. Had the pleasure of speaking to Mr. Spaulding last year at the Litchfield Jazz Festival. He is a very gracious man and of course an excellent musician. I asked him when Vol. 2 would be coming out, but he could not really give me an idea. Its now a year later and there still is no Vol. 2. Anyway, pick up the Muse and High Note recordings. They are all worth while recordings and if you are feeling a bit more adventurous, check out his contributions to the David Murray Octet. Damn that is some good music.!

I have had a chance to listen to this disc a few times since my initial post and enjoyed it more with each listen. I only listened to Apparitions once. I probably need to get back to that one because it did not have the same impact on me as Adobe. By the way, Malaby also makes strong contributions to recent recordings by Mario Pavone, Mark Helias and a few others. He is definately someone to watch.

I heard it around the house all my life, but only started to really appreciate the music myself during my fourth year of college in the Fall of 1987 when my then girlfriend was doing a semester abroad in Spain. Since she was not around I had a lot of free time on my hands and spent a lot of time in the music library listening to old LPs and reading old Down Beat magazines.

I have been looking forward to this one for a while. I will definately snatch it up as soon as it is available.

Thanks for the info. I might consider a mid week trip into the City for this one.

Pete, Did you go Wednesday night? I would have liked to have seen a few of those sets, especially Equal Interest with Myra Melford.

I confess to being the similarly obsessed person that sent Tom a copy of the radio broadcast of the Hill Jazzpar Prize concert. It is possible that the release is not from the same performance. The group performed together on four consecutive nights. It is possible, like other Jazzpar releases, that the recording was put together with segments from multiple performances. I can't read the language from the link, which does not appear to include the recording date. In any event, like Rooster said this is some of the most beautiful music I have heard from Hill. In past communications with Ron Horton he told me that he had a significant role in arranging the music and upon hearing a copy of the broadcast I sent to him he was very proud of the results. The official recording is a must have!

On Saturday night I attended the Dave Douglas & Vacation Blues concert in Hartford. I went to the concert not really knowing what to expect. Recently I have somewhat cooled to Dave Douglas as a trumpet player. I loved his sextet recordings, but the more I hear of his trumpet playing the less spectacular it appears to me. I don’t mean that to sound as a criticism. It’s just that in the past couple of years my exposure to many more musicians has revealed quite a few trumpeters who I prefer. Douglas has some great groups, but I think the impact of the groups is more a reflection of the writing and the assemblage of talent as opposed to being overwhelmed by Douglas as a trumpeter. Anyway, I was still looking forward to the concert and it was a very pleasant experience. The group includes Roswell Rudd on trombone, Brad Jones on bass and drummer Barry Altschul. I think this is a new group that Douglas recently put together. They played a couple of Douglas, compositions, a couple of Rudd compositions and a few Herbie Nichols compositions, including the composition from which the band gets its name. Rudd and Douglas worked very well together. I was impressed as much with how they interacted and played off each other as with any individual solos. Rudd, however, was clearly the star of the show. He gets a wide range of sounds from his trombone and is extremely expressive. I think what impressed me most about Rudd was the sheer joy of playing that is evident. Unlike a lot of these overly serious guys making complicated music just to be hip; Rudd just had a lot of fun. He has monster technique – yes, but he used his technique in a way that engaged the audience as opposed to keeping us on the outside. Jones and Altschul worked very well together, with Jones getting quite a few impressive solo opportunities. Nice set and if this group is going to continue performing together I recommend you check them out.

Stubblefield is one of my favorites. The recent Coda issue prompted me to pull out some recent Stubblefield that I have. Did not know he was ill. Maybe I will listen to some Mingus Big Band right now since that is all that I have in my office with me.

What's to apologize for? Those cats sould PLAY! I know that! Yet somehow this music sounds pretty corny and very much of its time, today (and let me add I'm too young to have been around then, so there's no nostalgia involved). ubu I loved them as a kid, and love them now. "Good Times" is one of the most important songs in the development in rap music. Can't tell you how often as a teenager I heard djs scratching off the instrumental break on the long version and then me trying to do the same at home. Lets not forget that "Good Times" was used for the ground breaking "Rapper's Delight" as well as "Bounce, Rock, Skate Roll". Chic was the bomb!

Prompted by my six year old son's disbelief that there was a song titled "Popsicle Toes" last week I played several tracks from The Art of Tea.

I own Sources of Inspiration with Gary Bartz and Eddie Henderson on LP. I have not listened to it in a long while, but I recall enjoying it overall. Not essential, but some decent spots by Bartz and Henderson.

I don't have one yet, so if anyone gets one -- and doesn't care for it -- I'd be happy to take it off your hands (and I've got some trade-bait). Or if anyone has one to spare, drop me a PM. Cadence stocks the CD for $14.00

The Blackwell discs are very good. I own one, and the other was stolen a few years back. Just a reminder of something that I need to replace.

I have the Concord LP. I will try to scan it if it will fit on my scanner. My recollection is that there is not much to the cover.

Devils Paradise was one of my favorite releases last year. EXCELLENT!

I have it and enjoy it although I will confess to sometimes being a little less than objective when it comes to Hill. Its not my favorite Hill solo outing, but it is interesting to compare the versions of a couple of the titles done on the solo disc, with the later versions done by the sextet on Dusk.

I think it is very good, but it has also been a while since I last heard it.