Joe

Sounds good man! I look forward to meeting you when you get back. Hold deposit given to apartment, now just waiting for the fun application process to complete. If everything works out, I can move into the apartment in the morning. :tup

TRACKS 9 - 13 (09) Tom Archia, "The Battle" (Tom Archia) 1947 - 1948 (CLASSICS series), 1948 Tom Archia (ts); Gene Ammons (ts); Willie Jones (p); LeRoy Jackson (b); Wesley Landers (d) (10) Glenn Wilson / Rory Stuart, "Armageddon" (Wayne Shorter) BITTERSWEET, 1990 Glenn Wilson (bs), Rory Stuart (g) (11) A. Spencer Barefield, "Xenogenesis" (A. Spencer Barefield) LIVE AT NICKELSDORF KONFRONTATIONEN, 1984 A. Spencer Barefield (g), Anthony Holland (as), Tani Tabbal (d) (12) Aram Shelton's Arrive, "There Was..." (Aram Shelton) "THERE WAS...", 2011 Aram Shelton (as), Jason Adasiewicz (vib), Jason Roebke (b), Tim Daisy (d) (13) Freddie Redd, "Night Song" (Freddie Redd) EXTEMPORANEOUS, 1978 Freddie Redd (p)

TRACKS 5 - 8 (05) Frank Van Bommel, "Albuquerque Social Swim" (Dick Twardzik) A CRUTCH FOR THE CRAB, 1999 Frank Van Bommel (p), Tobias / Toby Delius (ts), Arjen Gorter (b), Martin Van Duynhoven (d) (06) Michel Portal, "Bailador" (Michel Portal) BAILADOR, 2011 Michel Portal (bass cl), Ambrose Akinmusire (tp), Lionel Loueke (g), Bojan Z. (p), Scott Colley (b), Jack DeJohnette (d) (07) Marty Ehrlich, "The Falling Rains Of Life" (Jaki Byard) SONG, 2001 Marty Ehrlich (bass cl), Uri Caine (p), Michael Formanek (b), Billy Drummond (d) (08) Bennie Wallace, "Broadside" (Bennie Wallace) ONE NIGHT WITH BLUE NOTE PRESERVED V. 2, 1985 Bennie Wallace (ts), Cecil McBee (b), Jack DeJohnette (d)

The Q&A has come to an end, Bennet Cerf and Dorothy Kilgallen have removed their blindfolds, and it is time to learn the identities of our mystery guests. I will save my comments for a later post, or will interject them into the discussion (if any) that follows. TRACKS 1 - 4 (01) Howard Rumsey's Lighthouse All-Stars, "Bossa Nova" (Bob Cooper) JUST JAZZ television broadcast, 1962 [?] Bob Cooper (ts), Bobby Bryant (flugelhorn), Forest Westbrook (p), Rumsey (b), Doug Sides (d) (You can watch this band's "complete performance here). (02) Smiley Winters, "Two Trains" (Bert Wilson) SMILEY ETC., 1969 Barbara Donald (tp), Bert Wilson (ts), Chris Amberger (b), Harley White (b), James Zitro (d), Smiley Winters (d), Mike O'Barra (perc) (03) Wadada Leo Smith / Ed Blackwell, "Buffalo People - A Blues Ritual Dance" (Wadada Leo Smith) THE BLUE MOUNTAIN'S SUN DRUMMER, rec. 1986, released 2011 Smith (tp), Blackwell (d) (04) Art Farmer, "Up in Quincy's Room" (Gigi Gryce, arr. Gryce) ART FARMER SEPTET, 1953 Art Farmer (tp), Jimmy Cleveland(tb), Cliff Solomon (ts), Oscar Estell (bs), Quincy Jones (p), Monk Montgomery (el b), Sonny Johnson (d)

The funk is a living creature, and, yes, its origins are otherwordly.

Under-appreciated LP, I think, by someone whose skills as a bandleader have also often been overlooked. The format is "standard horn soloist plus rhythm accompaniment", the results anything but run-of-the-mill. One of Waldron's last "pre-breakdown" recordings, correct?

Sonny Rollins' 10 favorite records, circa 1981, as reported in THE BOOK OF ROCK LISTS (Marsh and Stein)...

I'd forgotten about the recording you reference... should pull that out and give it a spin. The players on #3 are not original be-boppers.

Max has pushed the button for the last time.

Wilen is a good guess... though, stylistically, I'd say this cat is closer to Budd than Barney. And the band here is made up entirely of Americans. Track #1 is not, strictly speaking, a recording. But it is not quite a boot, either. I can't imagine it is listed in an conventional discography (not any that I've consulted, anyway.) That the tune is a bossa nova, or at least bossa-like -- as many have noted -- helps date the performance.

No, this cat wore glasses. I think you're going to like learning who the trumpet player is, too. And the drummer...

Not yet, not yet. But I will be pulling back the curtain about this time next week (TH, 06/30). Until then, if you've got something to say... this is the place. J

Thom -- thanks for the extensive comments. You bring up a whole slew of great and unexpected (for me) reference points for these tracks. I only wish I had the imagination and foresight to have thrown in some Ellery, or Raphe Malik, or Charles Davis (a favorite of mine). But I did not. Early Hutcherson (I mean, like Moncur III's EVOLUTION Hutch) is an important reference point for #12, I think. #1 is going to surprise some folks. The tenor soloist especially (I'm going to guess.) Best, J

A very Shaw-like player, but he's definitely more than slavish Woody-isms. If you'd like to hear him in a slightly atypical context, you might check out altoist Bobby Zankel's PRAYER AND ACTION on CIMP (though, as with all releases on that imprint, beware the "audiophile sound.")

How may tins of Turtle Wax are in a "lifetime supply"?

Just that that opening phrase is almost verbatim, and then it goes off into its own place. But that opening phrase... I was wanting to say Barbara Donald, but didn't....almost, but not quite... If we were playing The Match Game, you'd be kicking yourself for choosing Fannie Flagg rather than Richard Dawson during the Head-To-Head champeenship round.

I'm down for a download. Thanks, J

PS -- the trumpet player on track 2 may be the most important / surprising / remarkable member of that ensemble (though the tenor player is quite a story unto himself.)

5 = you know, that would take some research, but it is very possible that this composition is related to "Where or When". Also, you may not relaize it, but you do have a personal association with this tune (if we stretch the notion of association. As to 13, I could not have said it better myself. Though I might have added the words "psychodrama" or "melodrama". Much grass!

Sonny Rollins. In their BOOK OF ROCK LISTS, authors Dave Marsh and James Bernard include Rollins' "10 Favorite Records." Some interesting choices: #1 is Aretha Franklin's Amazing Grace. I'll try and post the full list when I get a chance.

I'm hoping we get something like a "Sister Ray" for the 21st Century.

Thanks for sharing your impressions of these performances. #9 makes me doubt my ears sometimes, and I know who is involved! Most everyone (including yourself) has successfully unmasked one of the tenor players. As to the other, I can only say he's not much of a household name (AFAIK). "Personal voice" is key to #13 indeed. For me, the bridge to this tune is very revealing... check what happens between about 50 seconds and 1 minute and 40 seconds in... Your analysis of #3 is spot-on. Finally, everyone has noted the preponderance of low-register reeds on this BFT. I swear, it was not planned. But the timbres and colors resident "below the treble" on #4 are essential to the identity [in the greater sense of that term] of that track.

Oh man, I remember those days - Mark Aguirre, Rolando Blackman. Adrian Dantley. Some good ball back then. Remember when we though <Mark aguirre was a "troubled soul"? Then we met Roy Tarpley! No argument from me re: the Team With The Stars On Their Helmets. To borrow a designation from Dr. Thompson, Jerry Jones is the ultimate "greedhead." Great a scorer as he could be, every time I think of Aguirre, I can't help but recall that Randy Galloway's nickname for him was "Alpo."

I'm not sure what this is in reference to. '06 vs. Miami? '07 vs. Golden State? Avery's ouster? Not questioning why you feel the way you do, of course. Just trying to understand the specific context. Just the way the whole 06-07 team/program unravelled. Avery had that team playing GREAT, but they didn't like being pushed like he pushed them, Dirk in particular. They wanted to play their "sexy" basketball, not dirve the lane and play hard defense the way Avery was preaching, in spite of the overwhelming and unquestionable success they had when they did. They flat out quit, rather openly, on Avery in 07, and then Dirk goes to Cuban and says whatever he says, mostly, as I understand it, "I can't play for this guy". At which point Cuban, instead of saying, "you'll learn to play for him, he's got a winning plan", goes all Dirkophile and fires Avery rather unceremoniously. And then began the stretch of "fixing" what was never really broke in the first place, other than players' lousy attitudes & unearned sense of entitlement. A player who backstabs a successful coach is bad enough. A team who quits on a coach with a winning formula is bad enough. An owner who coddles players in the face of failure is bad enough. But to have the whole package was just...more than I could stomach at the time, and I guess I've not yet made my peace with it. They finally got it "fixed" this year, but how much time was wasted? And for how long will it remain fixed? All I hear from the organization is how "painful" 06 was. Nothing about 07. And all I hear Dirk ever talk about is how he keeps working to improve his game (and all 'I hear Jason Terry talk about is bubblehead blahblahblahYEAH!!!). Implicit in that is that if he can't play the game the way he wants to, he ain't gonna give it his all. His actions have proven this. Obviously a sore point with me, but the whole thing still reeks to me of betrayal, of sacrificing the gritty truth for comfort, convenience, and ego. Excuse-making at its most odious never being copped to, no forgiveness asked, expected, or really even desired. And now, hey - it's ok. A ring has been gotten, righteousness of cause therefore proven. Show bizness at its best, sports at its worse. Just not something I can feel good about. My issues and my problem, though. Yea, it was ugly, and Avery deserved better. But he did not help his cause with the panic moves he pulled in Miami in '06. I was much less close to / informed by it all, though; I wasn't living in Dallas at the time, and was following the Mavs from not just an emotional but a geographical distance as well. If sports were rational, they'd be far less enjoyable (and much less a form of delicious torture.)

I'm not sure what this is in reference to. '06 vs. Miami? '07 vs. Golden State? Avery's ouster? Not questioning why you feel the way you do, of course. Just trying to understand the specific context.