Joe

Much grass. But how many martinis does it take to achieve Deano's hypnogogic baseline?

Jim -- perhaps I missed it in my review of this (interesting) conversation, but... exactly which Dean Martin record might that be?

LINE ON LOVE is excellent, as is the earlier "sister" recording SONG on Enja, with support from Uri Caine, Michael Formanek, Billy Drummond and, on one track, Ray Anderson. Rather low-key / late-night feeling, but not lacking in intensity at all. As noted, he's an important presence on many another leader's records: Bobby Previte, Jerome Harris, John Lindberg, James Emery, Julius Hemphill etc. I first took notice of him, though, on John Carter's Gramavision dates, especially FIELDS. He's also recorded "standards" with Anthony Braxton's various piano groups, Andrew Hill (the mighty DUSK) and Muhal Richard Abrams. The duets with Abrams (OPEN AIR MEETING) are nice, but ONE LINE, TWO VIEWS is superb.

Searching for any word on / information re: the availability of this release: http://classicjazzguitar.com/albums/artist_album.jsp?album=665 Thanks in advance.

What an education this article offers. Big gratitudes.

From the 80's, but fine nonetheless (and cheap copies are fairly easy to find): CALIFORNIA CONCERT (Shank / Rogers)

Joe Daley (tenor saxophone).

Tommy Turrentine was playing at a high, high level there in the early 60's. Although he appears on several fine Blue Note releases from the period, and could even be considered a kind of co-leader on some of those Parlan and Stan T. dates, I would like to have heard what he would have done on his own with Alfred Lion's support. 3 more? Ed Blackwell.

Lengthy review / essay on Cohen's DUKE ELLINGTON'S AMERICA and the recent Storyville box set highlighting the 40's orchestras. http://www.nybooks.com/articles/archives/2010/oct/28/grandest-duke/?pagination=false

The lone studio date with Crosby and Fournier is JAZZ MOMENTS, correct? Its the only Shearing recording I own, and I can't say I remember much about it. But this thread has prompted me to dig it out...

Yes, the opening is difficult to get through... but I agree, there's still something inimitably Hank and more than listenable in the solo he takes. That he was playing at all at this point in his career, considering his health and everything else that he had lived through, seems to me a kind of miracle, if not exactly a triumph.

Yeah, but do have this version? Its adds 4 seconds of Cannonball taking in a deep breath to the opening of "Wabash"; unavailable on any other issue, as are the Orrin Keepnews annotations on that same 4 seconds (1 page per second, BTW).

Yes, I wondered that too. Listening to Peace and Blessings which has just arrived on the back of people's recommendations here - Longineu Parsons immediately stands out - someone I've not come across before. Enjoying this disc, so thanks to those who mentioned it There was a fine Parsons compilation issued a few years back... SPACED on Ubiquity. http://www.ubiquityrecords.com/artists/LONGINEU-PARSONS.html I'm also wondering about the session documented in the Kalaparusha film. Another CIMP release?

Always loved that "Up Broadway" track from the Prestige STORY OF MOONDOG LP. At one level, it's just documentation, but, in the context of "vernacular", it shows what Moondog could do in terms of integrating that kind of vocabulary into his own music.

Yes, the truth is usually stranger than any documentary, fine as that documentary may be.

Quite a bit of Young's work available (freely) over at Ubuweb: http://www.ubu.com/sound/young.html http://www.ubu.com/aspen/aspen9/dreamMusic.html

http://www.theroot.com/views/root-interview-sonny-rollins

I've always been curious as to what led to Young's association with Gramavision back in the late 80's / early 90's. They released some of / excerpts from some of his major works, but boy are those discs difficult to find now.

Not clear if Smith will be performing, but more information is available here: http://blog.calarts.edu/2010/08/26/new-wadada-leo-smith-piece-to-premiere-saturday/

Jordan Ramin -- according to IMDB, he was, perhaps among other things, a composer of film music. Not only that, but the only film he is credited with having worked on is SCENT OF MYSTERY, the (in)famous Michael Todd "Smell-O-Vision" vehicle. Curioser and curioser.

Met Thomson on a couple of occasions (BB memorabilia shows; my dad's thing.) Incredibly nice and gracious man. He had a great memory, and good spin a good yarn.

Thanks for posting this; very much enjoyed the listen. And you CAN print that.

How I'd like to remember Abbey... Living Room

Very glad to see Dudu Pukwana appear on a couple of your lists. I've probably listened to more Jackie McLean than any other alto player, but, end of the day, I have to go with Art Pepper -- for the emotional qualities in his playing, for the risks he was always willing to take, and for the simple "intrigue" factor. Konitz is high up there for many of the same reasons. Also near the top of the list: Julius Hemphill; Bird; Ornette; and Anthony Braxton and Henry Thredgill, both of whom I think of as primarily alto players. PS -- not a favorite per se, but I've always really enjoyed Carlos Ward's playing, with Cherry, Abdullah Ibrahim and others.

The date with the Hank Jones-led Great Jazz Trio (NEW WINE IN OLD BOTTLES) is fine, and roughly contemporaneous with the ON MARS film. I also like the reunion with Mal Waldron, LEFT ALONE '86; both musicians had changed quite a bit since the original date, but remain compatible (to say the least.) Of his late, late dates, the collaboration with Junko Onishi, HAT TRICK, is among his more focused.