relyles

I might try to get down for the weekend.

That is the one Brackeen LP that I have. Its is very good.

I have several of the Dennis Gonzalez discs, one Charles Brackeen LP, all of the Ernest Dawkins discs and one of the Ethnic Heritage Ensemble discs. They are all very enjoyable.

I have the music form West Coast Hot on the original Flying Dutchman LPs Carter/Bradford's Flight For Four and Tapscott's The Giant Is Awakened. I agree that both are very good. I have also heard the Houle disc and second the recommendation. Has anyone heard Ab Baar's Free Step: The Music of John Carter? Some day I will pick that one up also.

John Carter is a favorite. Fields was one of the five part series. The best may have been Castles of Ghana. Carter was a very interesting composer which is highlighted on these recordings. As a clarinetist, some of Carter's best playing may have been on Horace Tapscott's Dark Tree. I also enjoyed the early stuff Carter did with Bobby Bradford and his work with Clarinet Summit.

Jazz Loft has Multiplication Table listed on their site as available for $11.99. Multiplication Table. I say grab it while you can. It is my favorite of everything I have heard under Shipp's name. I have not been overwhelmed by the thirsty ear recordings, but everything I have heard by the trio with Parker and Ibarra including a couple of radio broadcasts is satisfying.

I caught Hart with Jimmy Heath about five years ago. Hart practically stole the show and it was that day that I became a fan of his playing. Before that I do not think any recording, or even the time I caught Hart live with his own group illustrated just how strong a player he was. Before hearing him with Heath, I thought he was perhaps a little too indebted to Gary Bartz. The recordings under his name that I have heard have been pretty good, but I am still waiting to hear the recording that accurately/completely represents his talents. Maybe this will be the one.

I don't know Tom. I might have to convene a secret meeting of the board of Hillaholics anonymous to make sure you still meet the membership criteria. On another note, sadly I can't get the stream here at work and when I tried to get it from home this morning I had problems. Hopefully I can get it working at home in time for the 24 hour blast starting Friday night.

I can't believe that you have never heard these? I just listened to Nefertiti yesterday. It is one of the first Andrew Hill LPs I heard when I was still in college. The public library in Ithaca, NY had a copy, which I borrowed took to the music library and recorded onto cassette. A couple of years later I found it on LP and then last year I was able to get the CD reissue as well as the other East Wind recordings. I had forgotten how much I enjoyed this gem with Richard Davis and Roger Blank. You better get it.

I received it as part of a promotion from Jazz Corner. I the recipients are required to post a review. I am delaying posting my review because my reaction to the first listen was not overwhelming and I want to give it another shot.

Its not clear from the link which Hill show you are downloading. I have not downloaded anything, but I have quite a few Andrew Hill unreleased live performances obtained via trading, including the Big Band date that I believe is avilable for download at the link.

Agreed. Its a very good one featuring two strong underrecognized tenors. I saw one listed on half.com for about $35, which I would recommend you jump on.

Bill Barron is a favorite of mine. I have every recording released under his name as a leader and I love them all. By coincidence I just discovered this Bill Barron discography on the internet that was compiled by the always reliable Michael Fitzgerald. Bill Barron Discography. Now if I could just locate copies of the private recordings and radio broadcasts identified I could complete my collection.

Are you sure there was a domestic reissue on CD? I have the Japanese version. I checked a couple of my usually reliable sources and none of them even list a domestic version. According to AMG the only CD reissue was by Denon, which I believe is the Japanese reissue.

From an internet announcement regarding a workshop to be conducted in Canada by Robinson: Billy Robinson belongs to a breed of saxophonists known as "Texas Tenors" for their clear, powerful and exhilarating sound. Born in Fort Worth, Texas in 1939, his jazz roots go back to his father's nightclub where he played boogie-woogie piano as a child, and watched the adult musicians perform. By age 16 his professional career as a tenor saxophonist was firmly established. In 1964 Billy moved to San Francisco where he met with Sonny Rollins, Freddie Hubbard and Ornette Coleman, all of whom encouraged him to move to New York City, which he did in 1969. That same year he was hired by Charles Mingus with whom he toured for one year. Amongst the other great musicians Robinson performed with were Freddie Hubbard, "Philly" Joe Jones, Woody Shaw, John Hicks, Wilbur Ware, Jimmy Garrison, Billy Hart, Archie Shepp and Julius Hemphill. In the early 1970's, Billy Robinson moved to Montreal where he recorded his first album, "Evolution's Blend". In recent years he has recorded two CDs, "Doubt Dropping" and "A short Turn to the Future" featuring his latest group, Reference Four Jazz Ensemble.

Jim, Both Doubt Dropping and A Short Turn to the Future are available from Cadence. I also read about a recording from the seventies titled, Evolution's Blend that may be worth seeking out. I also heard the sampler that Jim mentioned and will be ordering both of his recent recordings very soon. I think Jim's assessment is pretty accurrate. My only addition would be that I sensed a certain urgency to his playing that I find very appealing. I had found some additional information on the internet about Robinson that I will try to post later.

I ordered the set over the weekend as well. Peer pressure is a mother.

Hill Makes Jazz Connection By JEFF RIVERS Courant Staff Writer April 26 2004 Moments after Saturday's concert, Andrew Hill wondered aloud whether he and his Friends had connected with the audience at the Aetna Theater in Hartford's Wadsworth Atheneum. Perhaps the pianist and composer was too busy weaving rich musical tapestries from the stage to notice the audience's murmurs of delight, the head bobs, the cries of "woo" or even the standing ovation that followed his performance. Hill and his musicians - Brad Jones on bass, LeRoy Williams on drums and Greg Tardy on reeds - began to connect with the audience as soon as they drifted into "But Not Farewell," the up-tempo title track from Hill's early 1990s album. The song set the tone for an evening of spare and purposeful playing by Hill that was supported by the passion of Tardy on sax, Williams' tight and assertive drumming, and Jones' sweet and buoyant sound on bass. During the 82-minute, eight-song concert, the four men listened intently to one another. Their musical ripostes were always succinct. Tardy stepped into his solos as if he were Denzel Washington entering a movie scene. Sometimes, Tardy twisted his torso as he played, as if he sought to layer the audience with notes, much as Hill's compositions are layered with sophisticated and compelling ideas. Although Hill holds a doctorate from Colgate and has taught at many colleges, his music is free of adornment that showcase the composer's erudition rather than his musicianship. Saturday night, Hill and his band swung. They played with joy and passion. And they connected with a respectful and sated audience, even if Hill was too busy making outstanding music to notice. Saturday's concert was the first of three Hartford Jazz Society-sponsored events at the Wadsworth Atheneum. Trumpeter Dave Douglas & Vacation Blues perform May 22, with the Greg Osby 4 on June 12. Young area musicians open each concert. On Saturday, despite missing their bassist, who is also their adult instructor, four members of The Greater Hartford Academy Jazz Ensemble played a resourceful set.

I really wanted to go to the Weston concert, but I was stuck home with the kids. I knew I would be missing something good. I think Ahmad Jamal is going to be at the Artists Collective sometime soon.

No, its not a glass room. Its just a small auditorium downstairs in the museum. Right size for this show, however, since it was not full. Come on down for the Douglas show on May 22. I go to all these by myself and can use the company.

Is there documentation that they did live gigs together? I don't know whether they did any live dates together in the 60s, but I do have a copy of 30 minutes from a radio broadcast of a reunion performance the group did in 1987 in Japan along with Woody Shaw, Ron Carter and Tony Williams. I was also fortunate to see McLean and Hutcherson with Andrew Hill and Billy Higgins a few years ago at City College. A historic gathering that I doubt will ever happen again. Think I will make the effort to get into the city for the McLean/Hutcherson/Moncur date.

Tonight I caught Andrew Hill in the first concert of the Hartford Jazz Society’s Jazz at the Atheneum Series at the Wadsworth Atheneum Aetna Theater in Hartford. With Hill were Greg Tardy on tenor, bassist Brad Jones and drummer Leroy Williams. I confess that when it comes to Andrew Hill I am not altogether objective. He is one of my favorites. I have heard him live about ten times in the past 16 years and I have never been disappointed. This concert was no exception. I got the sense that Hill made an attempt to keep the music somewhat accessible for this audience – most of whom I assume were unfamiliar with Hill’s music. Nonetheless, Hill’s characteristic sense of adventure was on display. Most of the compositions were familiar to any Hillaholic, but the arrangements were entirely different. Everyone played well – in particular Tardy. I have heard him with Hill on three occasions and this was the strongest I have heard him yet. Hill also played a considerable amount of piano, which I have heard he has not done much of recently. He stretched out a bit and always his distinctive playing was just as imaginative as ever. I spoke to Jones briefly after the show and he revealed that this was his first time playing with Hill. At times I did notice him paying close attention to the music sheets as if he were a little confused, but when he enjoyed himself and played he created some strong vamps – which are common in Hill’s music – and interacted very well with the rest of the group. The drummer was decent, but I must confess I would have preferred Nasheet Waits, who I saw play with Hill a little over a year ago. Overall, a memorable experience right in my backyard. For once I did not have to drive to New York to hear one of my favorites. The next two concerts are in May - Dave Douglas & Vacation Blues with Roswell Rudd, Brad Jones and Barry Altschul; and June - Greg Osby quartet with Megumi Yonezawa, Matthew Brewer and Eric McPherson.. I purchased tickets for the entire series as well as a membership to the jazz society for a total of $71 dollars. A very good deal if you ask me.

I am still waiting to receive mine that I ordered through half.com about a month ago. Two weeks ago the seller informed me (after an inquiry from me) that it was out of stock and it should receive it shortly. I am still waiting, but any minute now I may just cancel that order and purchase it elsewhere.

I was wondering about that one, too. I don't have it. Is it a good one? And how's the Max/Dizzy? AMG gives it one (1!) star... ubu I only listened to it once a while back in the car. I remember enjoying what I heard, but honestly I have yet to give it an attentive enough listen to give a credible opinion.

If I remember correctly, the recent Max Roach/Clark Terry recording includes several duets.