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Forgot to mention I have also heard Green's 1960 recording, Step High, which I believe is available on Fresh Sound. Nice bop influenced date that also features Jimmy Heath. Not a Green recording, but Bunky Green appears on Eddie Harris' The Lost Album Plus the Better Half. Highlights on that recording are some extended tracks (13 - 15 min) where Harris and Green really get to stretch out. Impressive stuff.

Bunky Green is a terrific player who coincidentally is a large influence on Steve Coleman. I am not sure which Vanguard recording you are dicussing, but I own both Transformations and Places We've Never Been. For my taste the former is a little too commercial, but Green is in top form. The latter is excellent featuring some very strong playing by Green. By coincidence just yesterday I listened to Green's 1989 recording on Delos, Healing The Pain. I think that may have been his last recording as a leader. It is an excellent quartet recording and highly recommended. I think Green is an educator in Florida now.

Where is Andrew Hill going to be?

Am I wrong for actually being interested in hearing the Marsalis disc?

A recent email from Ron Horton reminded me that I wanted to bring his new Fresh Sound New Talent disc, Subtextures, to people's attention. It’s a worthwhile disc featuring trumpeter Horton in a quartet date with fellow Jazz Composer Collective members Frank Kimbrough, Ben Allison and Matt Wilson. This is a nice follow up to his previous recording, Genius Envy. Horton is a very good trumpeter, but for me what distinguishes him is his distinctive composing. Always accessible, but with a mysterious edge that is missing from most mainstream recordings. This recording also benefits from the band members familiarity with each other. These guys play together so often in each other's projects that you never get that feeling of a pick up band on a blowing date. Despite that, each project carries the leader's distinctive personality. After a couple of weeks I have just returned to the disc to dig deeper into its "subtextures". Recommended.

Not that I am aware of. I caught him live last year and the program for the performance did not identify any recent recordings. I know he is becoming more active with the big band around NY and maybe there is hope for something else in the future.

1. Not sure if it is a big band or some electronic manipulation of band sound. Basically a drum piece. I have never heard it before and have no idea who it is. Sounded like some train sound effects at one point. 2. An actual band. Focus is on the arrangement. Not much room for individual expression. At one point it sounded like a college marching band. 3. Another big band track. Nice groove. Interesting arrangement. 4. A break from the big bands. The sax is unfamiliar to me. The pianist is interesting. Monk like in his/her comping. That’s not Monk, is it? Solid track. 5. I don’t know baritone saxophonists as well as I should but I like the way this one sounded to start the tune. I am guessing that this is a bebop era tune. Another interesting arrangement even though no individual instrumentalist shines above every one else. 6. All these tracks have a similarity that I can’t articulate. It may be the focus on arrangements. A couple of them also have a subtle Latin percussion feel underneath everything else. Most of my listening is small groups with a heavy concentration on “spontaneous composition” so all the tracks thus far are new to me. 7. The vibes add a different texture that helps to add some variety to this compilation. Strong baritone solo. Bass player is interesting. I am a vibes fan, but I can’t pick this one up. Glad he/she remembers the vibes are a percussion instrument. 8. Reminds me of TV music. 9. Not much happened. 10. Latin influenced big band with vocals. The band is good – I can do without the singer. This is David Murray on tenor – I am a huge Murray fan. I must have this recording assuming it’s his Latin Big Band disc. Like I said – enjoyed the band’s groove – could do without the vocals. 11. The band sounds very similar to the band in track 10. Nice Latin influenced grove. I can get into a large ensemble focusing on arrangements that grooves like this. 12. I guess if you find something that works stick with it. The Latin groove is not as strong here but the track swings and the tenor can play. 13. What is that instrument? Like the percussion and groove of the piece. It gets better as it goes along. The saxophonist is familiar. 14. Is that a harmonica? Different instrumentation alters the texture of the piece – or is it an accordion? Not sure I like the way it sounds in a jazz context. I need a little more fire. Accordion, vibes, guitar? 15. I appreciate how you sequenced the tracks together that are similar to each other. The tune was not holding my attention at first, but this is another track that improves as it proceeds. I enjoyed both sax solos. 16. Not the kind of thing that would normally interest me. 17. Sounds like movie background music. Sounds like something best used to create a mood for a scene than to focus on. 18. Too short. 19. Finally something different. A bluesy tune with a familiar sounding horn. Nice solo. 20. And in tribute to organissimo we have an organ under some vocals. Tenor has some Eddie Harrisisms in sound that caught my attention. Enjoyable upbeat tune to close the disc.

Darn. I was so happy when I came across a used copy of the LP last year. Guess I will have to take it back to the record store and order the CD.

You talkin' to me or to Late? If me, you got my email address (I don't want to post it here, as I've been without spam so far) ubu Late

I sent you a reply to the pm you sent me that i am also not sure whether you received.

The recording that introduced me to Lacy when I first started listening to jazz was the sextet Momentum on Novus. Since I only own ten recordings out of Lacy's vast output I can't opine as to its "essentialness", but I have always loved the version of "The Bath" on that recording. I also have a fondness for Lacy's trio recordings, The Window, by-ya and The Rent. On the topic of Potts I have always enjoyed his contributions to the various Lacy groups he has participated in. I think his expressive approach is the perfect foil for Lacy's comparatively calculated approach. What did other's think of the 1999 Verve disc with Roswell Rudd, Monk's Dream? I enjoyed that one a lot as well.

Yeah, I know what you mean.

Yep Jim, thats it. So have you heard Tenor Gladness? If so, how would you compare it to Apogee?

Maybe "controversial" is too strong a word. I can not remember the details, but I recall reading somewhere that there was some tension between Marsh and Tabackin that may have arose either during or after the recording of Tenor Gladness related to some comments Marsh made. I probably read it in the Marsh bio.

I have the LP and always found it to be somewhat less enjoyable than the controversial Marsh/Lew Tabackin pairing, which I love. Maybe the improved sound and the bonus material may make this reissue worth hearing.

Hand Jive

I just received this disc yesterday and still need to listen to it more closely, but my initial reaction is positive. Mark Turner is probably my favorite of the younger tenor players, but during my first few listens of this disc my attention has primarily been drawn to the varying rhythms and interplay between the trio. I would not describe Turner as a "powerful" tenor or his sound as "big" and sometimes he gets a little lost in the mix between the bass and drums. Grenadier's bass lines are the foundation with Ballard's drums accenting the rhythms while Turner's labyrinthine solos weave through the rest of the group. Interesting stuff so far and a disc that I will probably give repeated listens.

I purchased the disc when it first came out and went back and listened to it again when I started to check out Harris. Great stuff for sure. Harris sounds great on this disc as well as on a couple of radio broadcasts I have heard from this group's tour.

Oops. Sorry guys, I forgot the Harris/Kirk topic had been previously discussed before I posted my inquiry.

Here is a question that I have thought about during my investigation of Mr. Harris. Does anyone else think there is a parallel between Eddie Harris and Rahsaan Roland Kirk? It’s a little difficult for me to articulate, but while listening to a lot of Harris' music recently, Kirk kept coming to mind. No, their music does not sound alike, but I think there are similarities between the two. It probably has more to do with the evolution of their careers. Both, IMO had incredible technical abilities that were either ignored, taken for granted or simply not acknowledged by the majority of listeners. I think to an extent this may have been caused by the fact that both had periods where they did not play stereotypical straight-ahead music. It also may be because Kirk's simultaneous playing of multiple instruments and Harris' use of electric sax and other non traditional instruments distracted some from the true substance of their talent. I don't know. Any thoughts?

My initial exposure to Hemphill was through the World Saxophone Quartet. I love the WSQ with Hemphill and would be curious to hear why Chuck thinks Hemphill's talents were wasted there? He definately was the most developed writer in the group and it has never been the same since he departed. Does anyone know why he split? Other than the WSQ I have one of the Sextett recordings, Dogon A.D., Coon 'Bidness and a couple of unofficial live broadcasts. All of it, thoroughly engrossing music.

Not sure that I can pick a favorite recording, but I must point out that his current quartet is playing some stuff live that IMO is equal to anything he has done throughout his carrer. Neither of the recordings featuring this group really display just how great the band is.

I might be able to obtain a copy of the recording in the near future and if I do will comment on the music (as opposed to the evolution of the cover art )

Thank you Randy, I just added the Dickerson, Griffin, Roach and Ra to my ever growing want list.

I don't have time at the moment to read the entire thread in particular Jim Sangrey's guesses. I thought I heard Dewey Redman on track 8 - that is why I said it was familiar. Track eleven, it reminded me of some of the more conservative stuff done by Sun Ra. I might look for that album. Thanks for putting this one together.