KOB

You can also see The Flamingos sing and perform 'Jump Children' in the following movie (which can be easily purchased on VHS) http://www.allmovie.com/cg/avg.dll?p=avg&sql=1:20026

IMO, Roy is technically better than Ramsey and just as soulful/funky.

Roy Meriwether 'Nubian Lady' finally reissued on CD available at Dusty Groove and it is downright NASTEEE Strongly recommended! Anybody else familiar with this recording?

I just purchased a bunch of Eve Packer discs with Noah Howard Trio and found the material kind of interesting. She seems to be in the Jayne Cortez beat poet bag. Possibly an oversimplification and unfair/inexact comparison. Any thoughts or comments about Eve Packer?

After hearing a track from a comp CD, I searched and found the Sings For Her LP which contained the particular track in question. This is an excellent LP all the way around. But, it's Cromer's voice that kills! Simply magnificent. Not sure if Austin Cromer is still alive and if so, what he is doing these days. What a waste that he wasn't recorded more often.

Even if this music has been released elsewhere, it may be worth the purchase for the album cover alone!

I guess this qualifies as a movie,.. the Looney Toon "the Three Little Bops" It's a riot! Three Little Bops (6 MINUTES 39 SECONDS) Rel 1/5/57 - Prod 1429 - MPAA 17902 - LT (Orange rings) Director: Friz Freleng Story: Warren Foster Anim: Gerry Chiniquy, Bob Matz Vocal: Stan Freberg Music: Shorty Rogers Excerpted In: Friz Freleng's Looney Looney Looney Bugs Bunny Movie. Video: "Looney Tunes Curtain Calls". Trivia for Three Little Bops (1957) •There aren't any sound effects in the cartoon except for the "deflating" of the Big Bad Wolf's bass drum. All other sound effects were provided by the jazz combo. •The first time that anyone other than Blanc, Mel was given screen credit for voices. Stan Freberg did all of the voices for this cartoon.) The Three Little Bops (1957, Freleng) The story of the Three Little Pigs, entirely sung (with incidental rhyming dialogue) and"modernized" in a 50s hybrid jazz/rock 'n' roll style. Shorty Rogers on music, and sung by Stan Freberg. References to Liberace: "I wish my brother George was here." (Used in several cartoons), and a section with the wolf dancing the Charleston with a ukelele and raccoon coat.

Gene Ammons - April 14 and it's an honor that I relish

As to 'who' I am referring to, I thought my list was fairly clear. I am not referring to anyone specific that over-intellectualizes, but interested if some felt there is too much emphasis these days on rationalization of content, format etc. versus whether the music is simply good or not good depending on what the listener is hearing and feeling. Maybe it is a big question, but just threw it out there for some thoughts. I certainly didn't expect to generate such criticism for this question.

"Pretty big question for a 15th post." Well,... maybe so if one doen't count the 200+ posts on the old BNBB & 45+ years of listening to jazz. That aside, to answer your question Chuck, ... let's say my question is directed toward the so-called 'name' critics, musicians in general & the general listening audience. Admittedly, that is a very broad group, but interested in generally broad thoughts on the matter.

Is jazz overly intellectualized?

I have all of the Rufus Harley Atlantic LP sides & Re-Creation of the Gods and have to say that all are quite good. I haven't listened to the Atlantic sides in about 30 years, but they still hold up and stand the test of time. Actually, I think Harley is quite good on tenor sax and his flute-work is also impressive. Re-Creation of The Gods is a real trip! Great stuff! The combination of the organ and the pipes are most compatible. I have heard lesser talent receive more hype than Harley, which is a shame. He is a very accomplished multi-instrumentalist. After all, if Sonny Rollins was impressed with Rufus Harley, what more needs to be said by anybody else.

I already have all of those discs listed on Franklin Kiermyer's website. Hoping for some new info. Thanks anyway.

I always thought of Franklin Kiermyer as an exciting drummer with a couple of excellent CD's under his name, specifically Solomon's Daughter and Kairos. It seems this guy has disappeared off the map. Anyone with any additional input on Mr. Franklin Kiermyer and what he is up to these days?

Seems to me it depends if they are appropriate or is it superflous,....and if the string section is decent

Miles Cannonball Dizzy Dex Rahsaan James Moody Roy Hargrove

I am hardly U.S. - centric when it comes to jazz. And, certainly not party line in that regard. That's complete nonsense. My jazz collection strongly refutes that notion all together. As a matter of fact, I am presently on a huge Swedish jazz kick. In particular, I really enjoy Jonas Kullhammar and his cohorts. They are turning out some outstanding and very interesting advanced postbop stuff and have made a point to own all of Kullhammar's recordings and related discs on the Moserobie label. Back to the subject at hand, by no means was I putting down that Polish jazz scene from the 1960's. I have been able to accumulate a fair amount of circa 1960's Polish Jazz from Dusty Groove and was particularly impressed with the Andrzej Trzaskowski quintet and sextet on Polish Jazz Vol. 2. I thought the music on this particular disc was excellent. As to Namyslowski, I acknowledged that he was good and he is. For my taste, I wouldn't put him up on a pedestal. Nevertheless, the music's point of reference is from where I stated earlier. As to 'parallel development' or 'reciprocal influence', I doubt very much that Miles and Wayne and Herbie were influenced or concerned by what was going on in Poland or anywhere else for that matter and were too busy developing and perfecting their own original version of modal jazz during that period. I suspect they could care less who was following a trend they started or precipitated. It's not a narrow view. As Miles would say, 'here we go again someone else trying to take credit for something I did'. Why is it so difficult to acknowledge that they were influenced by what was going on over here at the time and in particular, Miles? Did Miles invent modal jazz, probably not but he did precipitate a trend in that direction at the time and many followed suit. It was followed both domestically and on an international level. It was simply one of several directional breaks from 1950's and early 60's hardbop. There are and have been some excellent musicians out of Europe. No question about that. I would even go so far as to say that they were many that deserved wider recognition domestically than some domestics being touted here. I have no hang an up that the only good jazz around is found exclusively in the U.S... That would be an incorrect and ignorant line of thought.

Coming in on this one late, but read an earlier post on this thread something to the effect that for jazz music to be challenging, it had to be avant garde or so-called 'free jazz'. It seems to me that a challenge or something equally challenging would be for someone to play Round Midnight like only Monk could play it or 'Body and Soul' like only Coleman Hawkins could play it, etc. I would challenge a lot of 'free jazz' musicians try to to play those tunes like some of the earlier masters that made those reocrdings classic. For the record, I own and enjoy several Brotz CD's and LP's as well as many Roscoe Mitchell discs. And, I too have Assif Tsahar's Deals, Ideas and Ideals, which I also happen to like. My point is that I am not so narrowly focused in my tastes in jazz, to determine that one form is more challenging than another. That is a self-appraisal statement and not meant to imply that others are narrow-minded or narrowly focused. However, that's a fairly powerful statement to imply one form of jazz is more challenging than another. If I misunderstood the earlier inference as such, then my apologies.

Clarence Johnson III is a highly skilled technically proficient tenor sax player. Some, but not slavish, reference to Coltrane and shades of James Carter in delivery. His first CD release in 1998, Dedicated To You is quite good. The man is deep in debt to his soulful gospel roots which gives his playing a very passionate and sincere feel to it. This CD is definitely worth checking out. personally, I would love to hear more from Clarence Johnson. He's the real deal.

Not a bad recording, but found it tad boring after awhile. The tracks are rather lengthy; whish is no big deal except that it doesn't seem to matter where you enter any particular track. It's all more of the same thing. It's ideal for movie scoring. Which one might think is Komeda's strong suit, but not necessarily. Try listening to Komeda on piano in a trio setting where you can focus on just Komeda. You will find that he is quite an impressive pianist. (Re: Polish Jazz Vol. 3 on the Muza label) As to Namyslowski on alto, .... Well he's an old accomplished vet and I personally have a couple of old LP's on CD reissue under his name or he is part of the side personnel. He's very capable, but certainly a lot more exciting names on alto out there. The thing to remember about a lot of this output from the Polish jazz scene during this 1960's period was that they were simply referencing what was going on here at the time and in particular Miles Davis 60's modal period. IMO, none of this output is particularly original in concept and simply putting their own spin to it. Stanko at this time idolized Miles and was trying to incorporate that style into his own playing. That said, it must be acknowledged that the overall level of musicianship from these musicians in Poland during this time was / is pretty darn good.

"When does the "newbie" label go away from my avatar?" Who cares.... What's the big deal? Life must be good if this is a question worth asking.

"I love Eddie and any of his discs and at makes me somewhat sad there are not more replies here. " Dig it ,.....EH was THE MAN !!!!

My error !

Least we not forget about the Chambers Brothers who kind of followed in Sly's footsteps in many regards.......'Time has Come Today'...tick tock... Time.....tick Tock....Time....

A new release by Robert Glasper on Fresh Sound New Talent (Mood) and it's very very good !!!! The music is just a tad out there. Nevertheless, at times it gooves mightily. Glasper often reminds me of Keith Jarrett i.e. when Jarrett is playing some serious music in high gear. BTW, on one track, Glasper utilizes some flashes of Ramsey Lewis chording of old i.e. when Ramsey use to play acoustic straight ahead jazz back in the mid 1960's. Marcus Strickland & John Ellis show up on the final track of this CD which is a burning smoking track at that. More of Marcus throughout would have been nice. There are a couple of tracks with Bilal on voice or vocal. You either like Bilal or can't stand him. Like I said, he only pops up on two tracks, so there is plenty of music on this disc if you wish to bypass him. Interesting verson of Maiden Voyage on the opening track. Excellent recording and strongly recommended ! Mood Robert Glasper Trio Featuring: Robert Glasper (p), Bob Hurst (B), Damion Reed (d); Special Guests: Bilal (vcl), Mike Moreno (g), John Ellis (ts), Marcus Strickland (ts) REFERENCE: FSNT-153 New Talent