relyles

I do not think Charlie and/or Richie have ever been available on CD. I purchased both on vinyl from Integrity 'N Music in Wethersfield, CT this past year. I remember that he had several copies of Richie, but I know a friend of mine bought one copy. I know its used vinyl is low as a result of a recent sale, but you might want to give the owner, Ed Krech a call.

For anyone looking for a new tenor to investigate I recommend Tony Malaby. I first noticed his playing on a disc with Marty Ehrlich and have heard him with others like Tom Varner, Mark Helias and Mario Pavone. This is the first Malaby lead session I have purchased. It just arrived in the mail today and I have already listened to it twice this evening. Very enjoyable disc. The kind of recording that requires attentive listening to fully appreciate, but in no way would I call this an avant garde recording. Malaby's trio features bassist Drew Gress and drummer Paul Motian. I really like Malaby's sound on tenor. Some of the usual influences are audible, but I really think Malaby is finding his own voice. The sublime interaction between the trio may be what really makes this disc a winner. Gress and Motian compliment and converse with Malaby as much as they support him. Five of the nine compositions are by Malaby and it also includes interesting renditions of "Humpty Dumpty" and "What Is This Thing Called Love". Very relaxed, confident playing by all involved. Recommended. It is on the French Free Lance label.

I think Geri Allen may now be on Telarc. The Jazzmatazz upcoming releases lists an album to be released by Allen on the label later in the year.

Is that one available on CD or did you find a used LP? LP

Thanks for the info.

But how is it?

Yeah I know Gladden played with Young. How is Triplicity? I might try to locate it.

Over a year ago I did a brief investigation of James Moody by picking up, Feelin It Together and one of his later Novus LPs. I enjoyed both at the time, but like I often do I moved onto the next investigation without digging much deeper. The Moody track on the blindfold test encouraged me to pick up Never Again and check out Moody again. The LP arrived today and after only one listen while transfering it to CDR I can say this is a terrific recording. Jim pointed out Gladden's strong contribution to the date, but I don't think we should ignore the contribution Tucker made. At times his organ reminded me of my all time favorite organ player, Larry Young. As a result the LP has a somewhat more advanced or urgent feel to it than stereotypical feel good organ dates. Others will probably hear differently, but I was definately feeling a Unity vibe on a couple of the tracks. And yes, Moody is blowing some crazy stuff here. I enjoyed the track Jim selected, but I think my personal favorite tracks are the waltz, "A Little 3 for L.C." and the version of Eddie Harris' "Freedom Jazz Dance". After listening to this I just put Feelin It Together on again and am hearing it with a renewed interest. Both of these desperately need to be reissued on CD. Jim, thanks again for hipping me to this one.

From my own listening habits the past year I would have to agree that a lot of interesting things are happening in Chicago. I have found myself coming to appreciate a lot of Chicago horn players (Ernest Dawkins, Von Freeman, Fred Anderson, Ari Brown, Ken Vandermark and David Boykin come to mind) and the Chicago scene as a whole seems to promote experimentation and individuality. I have even started to go back and listen to some of the giants such as Eddie Harris who I also believe have roots in Chicago.

The first time I heard and only time I heard Joe Daley was ont he Bee Hive LP, Charlie Parker Memorial Concerts. I think he plays on one or two tracks on that LP. He made an immediate impression. Kind of reminded me of some other distinctive Chicago tenors that I have been listening to recently such as Von Freeman, but with his own approach. I have been wanting to find something else recorded by him and now I will be on a desperate search for this LP. Found one potential source, but can't quite afford $40 for the LP so soon after the holidays. Thanks for pulling my coat to this one.

I ordered James Moody's Never Again, which was featured on Jim Sangrey's blindfold test.

Not familiar with that one, but I do own two other Gonzalez recordings, Namesake and Old Time Revival, both of which I enjoy. I also caught Gonzalez show this past summer at Tonic in NYC with Ellery Eskelin, Mark Helias and Michael Thompson. It was a great set and I hear that Gonzalez is planning to release it in 2004. I am in no way advertising for another BBS, but Dennis Gonzalez has his own "ask the musicians" thread at Jazz Corner that he is very active on. He is obviously the best source for any additional recordings with the Clines.

Okay. I neglected my children for a little while and gave disc two a listen. For the most part my listening was truly "blind" 1. Not sure how I feel about the special effects on the tenor. I enjoyed the electric piano solo and the tenor after the piano solo. Overall I enjoyed the track - specifically the feeling of intensity and urgency. 2. Sounds like Kahil El'Zabar's Ethnic Heritage Ensemble with I believe Joseph Bowie on trombone and possibly Ed Wilkerson, Jr. on sax. I like the meditative effect of the simple repetitive percussion pattern. Thies piece definately sounds familiar. It is not complicated, but it has a lot of feeling. 3. Before listening to the second disc I did see a reference to a cut featuring Marvin gaye while reading some of the thread. I will assume this is that track although this is not the "sexual healing" Marvin Gaye that is my last memory of him. I think Gaye is one of those most soulful singers ever. I am not familiar with this track. You guys sure this is Marvin Gaye? 4. Pleasant track. Not much more than background music to me as opposed to something that would grab my attention. 5. Nice swinging tune in an older style of the music. Good concise solos by all. 6. When listening to the beginning I was thinking that the ensemble playing reminded me of a Tristano line. By the time we got to the two saxophone solos I was convinced. I have been listening to a lot of Marsh in the past year. By coincidence today I listened to Warne Out. As a result I know Marsh's sound very well. I also think that was Tristano and Konitz, although I am not familiar with any recording they did with a large ensemble. Could be Gary Foster. I always love the interplay that goes on between the horns of Marsh, Konitz and/or Foster. Nice track. 7. There was something about this track that was similar to the Tristano tune in the previous track except faster. For some reason I kept thinking about Anthony Braxton - not because I know he was a fan of Konitz and Marsh - but because of something I heard in the phrasing in the ensemble section. I really liked the first baritone solo and the arrangement of the piece as a whole. If you are going to have an expanded instrumentation you might as well use all the horns. 8. An older recording. Is the tenor Lester Young? Something in the tenor solo sounded like this person could have been an influence on Marsh. 9. Familiar bebop tune although I do not know the name of it. Tenor sounds a little like Lew Tabackin or Bennie Wallace, but I am pretty sure it is not either. Nice tenor work nonetheless. Confident solo with a muscular attack and tone. 10. Vocalist that sounds vaguely familiar, but does nothing for me. 11. Sounds a lot like Henry Threadgill's Very Very Circus - or in the alternative some African music. I always liked threadgill, and the Very Very Circus is one of my favorite groups of his. The use of guitar and the low end of Tubas was always fascinating and noone writes tunes like Threadgill. Wow. I listened to both discs. I am almost proud of myself. Yo Jim, where is the Quartet Out track?

When I think of the hundreds of CDs, LPs and CDRs that are in my "unheard music boxes" in the basement of my apartment, the rare at which I actually listen to the music and the sad truth that I hardly ever listen to any recording more than once before I feel obligated to move to the next unheard recording, I think I should admit to myself that I have constructed an impressive library of music that I am not sure when I will be able to fully appreciate. It was not always this way. Other responsibilities in life have reduced the time I have to listen to music, but my insatiable appetite to get the music has not subsided. Embarrasingly that probably makes me more of a collector these days, but I must say that I only purchase music that I really want to hear by artists I genuinely appreciate. Maybe one day I will catch up. Its a constant battle, but recently I have slowed down the pace at which I obtain new music.

From other people's comments about the title, I am wondering whether this is Disc 1, track 8? D1T8?

I have not read the thread beyond the first page and I have not read any responses to the second disc (which I have yet to listen to), but I have read enough to be very embarrassed that the "female vocalist" that I identified on track 5 may actually be James Brown.

I was able to get the children to bed earlier than usual and had some time to myself before my wife came in from work. I only got through the first disc, but since it is rare that I have time to myself to sit and listen attentively to anything I figured I would post my reactions to the first disc and post again later when I am able to listen to the second disc. Because of my own notions of what a blindfold test should be I am posting my thoughts after only listening to the disc once and without the benefit of reading any of the other participants thoughts. I will probably read the thread before I listen to the second disc in its entirety, but at least for the first 80 minute session I am operating completely blind and you are getting my real initial reaction to the music - all of which is new to me. 1. This is a great track to get it started and probably my favorite track on the disc. I enjoyed the solo piano intro - the intro had hints of a Monk tune, but I know the tune is not a Monk tune. When the band comes in a couple of minutes later there is a really nice groove. The tune sounds very familiar although I know I have never heard it before. It is not the specific tune, but the style of writing that sounds familiar. I really like how the drummer is breaking up the rhythm. The tenor is familiar and I really like the pianists solo - sounds almost like he/she is being very careful with the notes that are played. Great track! 2. The second track is an older recording that is fun, but in the end I did not have much of a reaction on the first listen. 3. The intro to this tune reminds me a little of "A Love Supreme". This is another familiar tune that I can not identify. I enjoyed the horn solo - especially the use of longer tones as opposed to a bunch of notes. 4. A larger ensemble playing an R&B type tune. Another fun and enjoyable tune, but not necessarily something I would go to when I am in one of my "deep" listening moods. 5. Very soulful female vocalist that I am sure I have heard before. This track conjured images of my frequent family gatherings in Harlem or the annual family reunion in either Alabama, Detroit or Dayton where the more senior family members spend the whole time in a room playing bid whisk and listening to the down home blues they love so much. I really enjoyed the feeling of this track. 6. The vocalist on this track has a much more pure voice than the vocalist in the preceding track, but does not have the same feeling or soul that I get from the other vocalist. I can appreciate her vocal quality, but compared to the preceding track it is a let down. 7. This is a very interesting alto-piano duet playing a hidden arrangement of a Monk tune. Both the alto and pianist sound familiar, but I can not place either. I like the tension on this piece. 8. Organ-bass-drums-tenor. I enjoyed this track about equally as much as the first track. I don't often like bass with organ, but it works well here. The tenor is familiar, but I can not place it. I really liked the organists sound. Not too heavy and nice solo. Tracks 9-11 did not do much for me. Not sure what to say about those because to be honest I did not have much of a reaction. They sounded somewhat like oddities. Track 11 sounds like something from an old movie. 12. This sounds like an Art Ensemble of Chicago recording before Famodou Don Moye joined the group. It has the sense of drama that I used to find very appealing in their music. The vocals almost makes it sound like it belongs in an old movie like track 11. My wife (not a huge jazz fan) came home while this track was playing and asked if this was ragtime. 13. Nice swinging large ensemble. We are now getting closer to the end of the disc. My attention is starting to drift a little and it is not helped by the fact that my wife is home and distracting me a little. 14. Nice tenor work. Mellow swing out of the Lester Young school. 15. This is not the type of thing I usually listen to, but it was enjoyable nonetheless. Makes me think of Lionel Hampton. I am not sure when I will get the time again, but I will make the effort to get back with comments on disc 2.

True!

The previously mentioned Anthony Cox has some of the best Dewey Redman on disc that I have heard. I would also recommend picking up the Old & New Dreams recordings with Don Cherry, Charlie Haden and Ed Blackwell. Redman plays well on Momentum Space, but there was not enough of him. Don't forget Ed Blackwell's Walls-Bridges. Excellent trio date! I also enjoyed his Palmetto disc, In London and the 1989 recording on Black Saint, Living on the Edge.

Has anyone mentioned Craig Harris? I love his contributions to the David Murray Octet.

Forgot to mention, I have not heard a lot of Bennie Green. but after hearing Soul Stirrin I became an instant fan. I have the Mosaic Select that I still need to listen to.

I belive I may have said it elsewhere, but I was very impressed by Julian Priester's most recent recording and his playing in general over the years. I don't profess to be an expert on trombonists, but another musician that I personally think really has something to say on the trombone is Jeb Bishop. I have only heard him in the context of Ken Vandermark's various groups, but IMO his playing is a large reason for the success of those groups.

As a result of an investigation of Warne Marsh I have recently begun listening to Tristano. Contrary to the descriptions of some that his music was cold and mathematical I have found his playing very enjoyable. He had a technical mastery of the keyboard that is quite impressive. Of the Tristano stuff I have heard thus far my favorite is probably the 1955 quartet material with Lee Konitz from the Mosaic box. Very impressive. I have also grown to really appreciate the devotion to true improvisation without cliche that was espoused by "Tristanoites"

I think the key word here is "some". Let me rephrase then. IMO Alicia Keys is one of the most talented of the current crop of R&B/Urban Contemporary/Soul/Hip-Hop (or whatever the term is) artists.

Not yet, but since my wife has been anxious to get it I should hear it by the end of the week. I have heard the single and a couple of other tracks on her website. I don't get as excited about R&B/Urban Contemporary/Hip Hop (or whatever they want to call it) as I used to, but this is one that I am looking forward to hearing. As opposed to many of the "hot stars" in the genre, Ms. Keys seems to actually have some talent.