robertoart

That must have been a weird trip for a while there MG. Go and put on Idle Moments and forget all about it (Smile). Ha ha!

Thanks for this, KH, I snoozed on the Kickstarter but now I want to listen to the clips and at least do a FLAC download. Interesting notes - it says that everything was recorded on reel-to-reel? I could have sworn hearing that when Dorn got the tapes they were all original and on cassette. Is it really too much to hope that this could be an ongoing Kickstarter project to get these tapes out? Or was it easier to do since this was a local band made up of folks with little national reputation at the time, and getting the Patton/Green recording or Mobley/Coles would be too difficult due to estate issues? I thought the real issue was that a lot of the tapes had deteriorated to the point they were no longer usable. I assumed this meant the ones with GG and Patton and Mobley etc, al.

Who is the amazing and mysterious guitar player on this session? Is it Richard Martin? http://stljazznotes.blogspot.com.au/2007/05/in-search-of-richard-martin.html Sarnie Garrett is the guitarist. Very obscure player; only other mention I've seen is on a 2LP compilation of Afro-American poetry, on which he accompanies some readings. I don't have that set. I agree that Garrett sounds a lot like Richard Martin, whose work I enjoy as well. Now: Jolas/Xenakis/Boucourechliev - Quatuor II/Hermas/Archipel 1 - (EMI Perspectives Musicales, FR) Why did I know you would know this! I should look at the backs of my album covers I remember the name now, and always thought Sarnie was maybe a girl. But I see it could be a guy's name. Kinda like a variation on Arnie. Like S'wonderful

I always thought Pitchin Can was a jam around the All Blues bass line. Which anchors the whole All Blues thing anyway.

I always forget the Broadway composers when I think of Coltrane too

The Boss (recorded in my hometown) is fabulous. The Magnificent Goldberg thinks so, too. Decided to spin this myself. Some parts are beyond fabulous; they're scary - like Smith's solo on the title tune. I know this session well from my cd. Can't wait to hear it on vinyl. Nathan Page and George Benson and Jimmy Smith is too much. Possibly my favourite JOS maybe.

I would be listening to these recent finds if the Denon DL304 cartridge I purchased supposedly new didn't have an offset cantilever and has been taken back to the distributor for a refund. Now have to find one in the US and wait about two weeks (if I'm lucky) before getting one sent and set up. Mono, DG, RVG looks vg+ vinyl, cover taped together, $29.00 Verve original, mint, never seen a turntable I do believe? Still sealed! Too scared to open it in case it's warped.

Who is the amazing and mysterious guitar player on this session? Is it Richard Martin? http://stljazznotes.blogspot.com.au/2007/05/in-search-of-richard-martin.html

Whitey On The Moon. http://www.youtube.com/watch?v=9DUxzAD6RZ0

And they can follow that with Grant Green John Patton Harold Vick and Hugh Walker! How much will you pledge to hear that one Chewy

I thought this thread must be about Sly Stone or Gil Scott Heron

He was really more of an orator than a singer

Wake me up when it's over.

RIP. We'll never hear the true sound of these formative free jazz giants again. The ones that came up when the Blues was still the Blues. I'm glad we got to hear some of it recently again.

This is a very good post. If the o/p thinks it's smug, maybe he doesn't really want to understand the wholistic nature of Archie Shepp's music. I found it staggering to believe anyone with the kind of list in the o/p, hasn't also heard Archie Shepp yet. Sounds a bit weird and disingenuous to me. How do you discover these greats and somehow bypass Archie Shepp? Free Jazz as first conceived was about 'cultural' dissonance, not just aural dissonance. The part never exceeded the whole.

Exactly.

"at that old camp meetin' at the Y"

Hopefully it falls on Phil Woods.

If you're using the lives of great men and women simply to flex your own intellectual muscles then shame. But if you are flexing your intellectual muscles to further illuminate and make cogent those great lives and intellectual property then more power to you, whatever the context,,,, be it the academy, the street or the bus stop.

I like the one from an earlier Ronnie Scott thread... young boy says to Ronnie.... "I want to be a drummer when I grow up", Ronnie says.... 'c'mon now son.......you can't be both! There's a variation on this.... Guy parks his car in a dark street. When he gets back to his car...... someone has smashed his back window and thrown a set of bagpipes in there.

multivalent ˌmʌltɪˈveɪl(ə)nt/ adjective 1. having or susceptible of many applications, interpretations, meanings, or values. "visually complex and multivalent work"

Is it post-modern because it is no longer in a dialectical relationship with its original context?

The content of the 'this' music as originally conceived was Blackness. Can you get around it?