Joe

I've always enjoyed SUITE FOR CHOCOLATE on Steeplechase, a quartet session with Khan Jamal on vibes. Heavy Tyner - Hutcherson vibe, but these players have their own thing going on as well. PARADE, a Steeplechase trio session with Johnny Dyani and Billy Higgins is also fine.

The name of the tune is this clip is "Gotta Be This Or That," according to one online source I could locate. http://www.casttv.com/video/txdlsj1/benny-goodman-at-carnegie-hall-new-york-1974-video

Funny, just yesterday "turned on" a Kickstarter page for a publishing project in which I'm involved. Not sure I should have much hope for it, and it requires a bit of nursing along, but I am interested to see what comes of it. (In case anyone is interested, said project can be found here.) IndieGoGo might also be worth investigating. Unlike Kickstarter, funding is not an "all or nothing" affair... but the site does not quite have the cultural profile of Kickstarter.

I'm wondering... is this some sort of gag? I mean, there's some real comic timing on display here.

IIRC correctly, there are also a couple of serial works on the Teddy Charles / Shorty Rogers / Shelly Manne / Jimmy Giuffre COLLABORATION WEST LP. My assumption (not sure where it comes from, though) is that a lot of the Los Angeles-based musicians of the era got "turned on" to Schoenberg via Dr. Wesley La Violette. Does anyone know if La Violette actively taught serial techniques?

Wonderful news.

Not easy to find anymore, but excellent: TRIANGULAR (Blue Note, 1989), released under drummer Ralph Peterson's leadership.

In the latest NEW YORKER. http://www.newyorker.com/arts/critics/atlarge/2010/05/17/100517crat_atlarge_pierpont

A selection from WOW ("Prospect Park West") appears on BFT #68; track 13... http://www.slowstudies.net/bft68/

Fairly informative review of this disc here: http://www.jazzinjapan.com/cd-reviews/514-junko-onishi-musical-moments-somethin-else-2009.html Interested to hear her sans-horns arrangements of those Dolphy pieces.

I think Ira Sullivan just naturally cancels out the good doctor. (Provided he's center-panned.)

Also on iTunes only, THE BILLY TAYLOR TRIO INTRODUCES IRA SULLIVAN, originally on ABC-Paramount. Superb. http://itunes.apple.com/us/album/the-billy-taylor-trio-introduces/id316692246

Both of Dave Burns' Vanguard dates (at least one of which has received a recent vinyl reissue) are available via iTunes... http://itunes.apple.com/us/artist/dave-burns/id5683004

You had me at "almost two hours of unissued music."

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.