Joe

We have a name now for the "hero" of that song: stalker.

Two Dickerson albums right Joe? Tell Us Only The Beautiful Things and 1976? I would absolutely love to hear these. Yep yep. Superb work by Wilbur Ware on both recordings as well.

24-bit remasters of many (if not all of these) were released in Japan several years ago. Nice to see them made more widely available again, and at domestic prices. Perhaps Candid will eventually get around to all of these (more Dickerson, a nice Ted Curson session, Muhal's AFRISONG...)

According to the DALLAS OBSERVER, Fathead's granddaughter Talibah is currently at work on a documentary film about her grandfather. Something to look forward to... LINK: "Fathead" Newman's Granddaughter Reveals Plans for Two Dallas Memorials

Hog Cooper can be heard to advantage on THE LEGENDARY BUSTER SMITH record, as well as RETURN TO THE WIDE OPEN SPACES, which documents one of those Caravan Of Dreams gigs mentioned earlier in this thread.

On a slightly more "experimental" trip... key tracks from Herbie Hancock's Mwandishi band fit the bill... "Ostinato (Suite For Angela)" from MWANDISHI; "Hornets" from SEXTANT...

I've heard -- long ago -- his compositions (IIRC) and tenor sax work on a session led by pianist Paul Salomone (QUICKSTEP), though my memory of said date is while happy also rather vague. But I just learned that Gryce issued a record under how own name about 7 - 8 years ago: OUR DAY WILL COME, featuring Radam Schwartz on organ and possibly others (?). Any board members heard this session and have any commentary on it? Or thoughts on Tommy's work in general? Thanks in advance. Joe

Fans of Bobby Hutcherson's mid- to late 70's BN output should definitely check out drummer Eddie Marshall's DANCE OF THE SUN. BEYOND THE BLUEBIRD is one of my favorite Tommy Flanagan leader dates; wonderful interplay with Kenny Burrell. Finally, LEE'S KEYS PLEASE by the Cadence All-Stars. You might not recognize many -- or all -- of the principals, but its an excellent session that's creative without being beholden to any one "style".

This one? http://cdbaby.com/cd/pucillo2

In The Light

Absolutely. Just listen to what he's doing on pedals on the rendition of "Spill The Wine" from SPARKS!

Killer -- that would have been not long after their opening / back when CoD actually booked live music. Makes me wonder how "local" Spencer was at that time. Surely this was not a pick-up band?

Was just driving back from dinner and after-coffee, happened to have Melvin Sparks' rendition of Sly Stone's "Thank You [etc.]" spinning on the car stereo, and was reminded again what a unique master of the groove Spencer was (is?). Not that I'm keeping track, but, for me, Spencer remains the trippiest / most "acid" of that third generation of Hammond B-3 players to come to notice in the mid- to late 60's. Sure, no one ever got quite as interstellar as Larry Young -- cf., LOVE CRY WANT -- but Spencer's work is pretty "spacey". To me, his solos areoften alternately menacing and blissed-out. Profoundly heavy-lidded stuff, if you know what I mean. (Finest example of this? The title track from LOUISIANA SLIM.) And it still swings, like... well, insert your analogy here. Any other fans of Spencer's work? Any idea what happened to him after his run of Prestige sessions came to an end?

Yes , keyboard duties in that band were handled by Ray Santisi . Thanks. Very curious to hear this Pomeroy session...

Maybe the best time I saw him was at Columbia University, right before "Stone Blue" came out. It was billed as a reunion of his Joyous Lake band, but it was more like a reunion of his Philly band. IIRC, the band was Tyrone Brown and Sherman Ferguson, plus some piano player. Around 2 hours of solid, churning, thick jazz; just wonderful music. My point is, Pat's playing was so low that I swear, I wasn't hearing his notes, I was just feeling them in my stomach. Doesn't Martino also play electric 12-string on DESPERADO and (parts of) the Prestige session he made with Eric Kloss and the Corea / Holland / DeJohnette rhtym section?

Geez, Joe, that's kinda like wanting to take seconds on the Immaculate Conception... Hey, nobody says those takes would have to be released...

Sitting in? Any of the Buck Clayton Columbia jam sessions. If I were a pianist -- Lee Konitz's MOTION. Coltrane's OM or KULU SE MAMA.

Spun this again last night, after letting it sit dormant (again, unaccountably) for several years, and it's still a glorious session. I hear less Joe Henderson in Mitchell's work here than before, but he still sounds like the missing link between Lima, OH's finest (phrasing, rhythm) and Lucky Thompson (tone, sub-tone, ballad attitude): a link I did not suspect was waiting to be uncovered. But they were all, at one time or another, Detroit cats. And, damn, but has Herman Wright ever sound better than he does here? His motor is really running hot here.

Spun this again last night, after letting it sit dormant (again) for several years, and it's still a glorious session. I hear less Joe in Mitchell's work here than before, but he still sounds like the missing link between Henderson (phrasing, rhythm) and Lucky Thompson (tone, sub-tone, ballad attitude): a link I did not suspect was waiting to be uncovered. And did Herman Wright ever sound better than he does here?

According to AMG, Jaki Byard plays tenor sax throughout on Herb Pomeroy's LIFE IS A MANY SPLENDORED GIG... can anyone here confirm?

I would have liked to have been at the infamous HARD DRIVIN' JAZZ session, just to see if it was as tense as Cecil Taylor described in Spellman's FOUR LIVES.

Lee Konitz, TENORLEE John Benson Brooks, FOLK JAZZ U.S.A., with Zoot Sims on alto and Al Cohn on (rhyming) baritone Charles Gayle, JAZZ SOLO PIANO and TIME ZONES Yusef Lateef, keyboards throughout on NOCTURNES Joe Chambers, keyboards on DOUBLE EXPOSURE

They also retitled the session IDOL OF THE FLIES for that re-release... I actually once saw a copy at a local Half-Price Books.