Joe

I generally don't care for this kind of thing... but this is pretty genius.

This new release by Chicago drummer Mike Reed looks interesting for its generational mix... http://www.dustedmagazine.com/reviews/5670

Alan: glad to know you got home safely. Great pleasure to meet you. Educational, too; now I know who perched that vinyl monkey on my back. [shaking fist at the heavens] SPILLERS!

Yes, exactly. Have long been interested in hearing FIRST AVENUE... from descriptions I've read, looks to be one of the more truly "free" ECM recordings. Then again, this was also about the time they were putting out records by (two-thirds of) AMM.

Echo the first sentiment, strongly. And yeah you are right - these ECM-alike covers [i mean the real ones, not the wonderful pastiches] are poor - they show up the virtues and consistency of ECM even if you *don't* really admire the Nordic Twilight aesthetic ('it's dusk, and here I am, all quiet and alone with just the echoes of distant feelings and fading memories...') Tough crowd. The psi in post #2 above comes closest, I think. This just proves that no matter what you think of the music (or the design, in terms of liking or disliking) of what high quality ECM's cover designs usually are (there are exceptions, I'm sure...) Only mostly joking. really. What I find fascinating about the ECM aesthetic is how it has modulated over the decades while still remaining recognizably "ECM." Those 70s overs seem to me to have a bit more warmth to them, even though the photographic content has remained pretty much the same... in the 80's, there's quite a bit of scribbly / hand-drawn stuff, along with covers (FIRST AVENUE) that could almost have been slapped on the long-playing debut of some No Wave... the 90s, very cenotaph-y at times, stark typography and color fields... and the 00s, back to atmospherics, this time more somber.

Echo the first sentiment, strongly. And yeah you are right - these ECM-alike covers [i mean the real ones, not the wonderful pastiches] are poor - they show up the virtues and consistency of ECM even if you *don't* really admire the Nordic Twilight aesthetic ('it's dusk, and here I am, all quiet and alone with just the echoes of distant feelings and fading memories...') Tough crowd.

I seem to recall Gardner being name-checked as an important influence or early favorite by Gigi Gryce in the liner notes to one of his Prestige dates (RAT RACE BLUES, maybe?)

the original cover to Larry Young's MOTHER SHIP Wes Montgomery, ROAD SONG US, NO LINE ON THE HORIZON

The CD in question does indeed contain the 1972 recordings that went unreleased at the time. Drummer Gallivan remains active, or at least was recording through the 90's. Sonically, as dense and bursting with dark energy as anything Miles' post-ON THE CORNER groups could generate. But this was just three guys. Some of my favorite Larry Young on record, period.

Nice, fairly informative review -- with audio clip -- of this is a recent issue of DUSTED MAGAZINE... http://www.dustedmagazine.com/reviews/5627

So, in the 50's, all teens looked like they were in their mid-30's?

Cousin of Wooly Willy. Had a brief career in childrens' television. Spent a lot of time on disability. Hoarded cats, dogs and cereal box tops. Youngest person ever to have an obituary "on file" (you know, just in case) at the PLAIN DEALER.

Some choice Dameron charts on this LP as well... CLIFFORD BROWN MEMORIAL (Prestige) Also essential (and one of the best places to hear what Dameron was like as a player / accompanist)... FATS NAVARRO FEATURED WITH THE TADD DAMERON BAND

BTW, for those interested, the Tempo sides released as PUB CRAWLING on Contemporary in the US are available on the following Jasmine CDs: Jimmy Deuchar, SHOWCASE http://www.jasmine-records.co.uk/acatalog/jascd-616.html Jimmy Deuchar, OPUS DE FUNK http://www.jasmine-records.co.uk/acatalog/jascd-621.html As Larry noted, excellent stuff.

Deuchar's a wonderful player, with a style the reminds me just a bit of Kenny Dorham. Wish his discography was a bit more extensive; thanks for expanding it with these links.

I have these on the afore-mentioned Doctor Jazz reissue, SHELLY MANNE AND FRIENDS, which did make it to CD. Track list: 1) How High the Moon 2) When We're Alone (Penthouse Serenade) 3) On the Sunny Side of the Street 4) Time on My Hands 5) Moonglow 6) Tea for Two 7) Them There Eyes 8) Sarcastic Lady 9) Night and Day 10) Flamingo 11) Step Steps Up 12) Step Steps Down Question is, is this all of the original Signature sides in question?

Did not know about this until about 15 minutes ago... http://www.anti.com/catalog/view/148/The_Way_of_the_World Any early reports?

Phil Freeman is a frequent contributor to THE WIRE. He also used to write occasional pieces for BAGATELLEN.

Or, if you want to hear Hill in a more "accessible" context, check out his early sideman appearances... Hank Mobley, NO ROOM FOR SQUARES Walt Dickerson, TO MY QUEEN Joe Henderson, OUR THING No Hill compositions, but, there are insights to be had from a close listen to his accompaniments.

I'll throw a slight curveball and recommend DUSK, which, to my ears, is one of the most satisfying of Hill's later recordings. The other players aren't quite household names, but they really understand Hill's music, and give some inspired performances (I think Billy Drummond in particular sounds great here.)

Some of my favorite Big Joe can be found on the late-40s National sides collected on this Savoy compilation: Big Joe Turner / Pete Johnson, ATOMIC BOOGIE

Just finished Nathalie Sarraute's TROPISMS. Now I'm flipping through James Wagner's THE FALSE SUN RECORDINGS (for all you readers of contemporary American poetry.)