Joe

Quite beautiful and -- dare I say? -- revelatory.

Fabulous. Listening now to the Neal Kirkwood Octet with Vincent Chancey on french horn. Next up, some James Zollar.

Not to encourage this kind of behavior, but my research shows that a rip of this LP is floating through the tubes. Now, this Tumbleweed label business...

Driving in and around that part of greater Los Angeles is indeed an often paradoxical experience. Have heard snippets of this record in the past; now curious to hear just how patchouli-drenched it is.

I actually think the later, previously unreleased session, tacked on to the CD reissue is more successful than the record that was actually released at the time... "Blue Spark" is pretty groovy stuff...

Re: Joe Cinderella... I agree; he is one of the primary reasons I keep returning to Melle's work (particularly the Prestige sides). I actually spoke with Mr. Cinderella about 4 - 5 years ago, via phone (no, no sammich talk). We discussed doing an interview, but, unfortunately, that was at a time when I was "between publications" -- a crack out of which I ultimately chose not to re-emerge -- and nothing ever came of it. He was still playing regularly at the time, in a 2-guitar quartet IIRC, and indicated he had just finished working with an associate on his website. If that ever came to pass, there's no evidence of it on the web that I can find. Recordings of Cinderella apart from the Melle group are not exactly plentiful, but, for anyone whose interested... http://cdbaby.com/cd/cinderella

Lewis Hyde, TRICKSTER MAKES THIS WORLD: MISCHIEF, MYTH AND ART

Allan Chase's DARK CLOUDS WITH SILVER LININGS L'AGE MUR, co-led by Enrico Rava and Lee Konitz Tim Berne's MUTANT VARIATIONS OLD AND NEW DREAMS John Carter / Bobby Bradford, SEEKING

Wadada's award is as well-deserved as it is overdue. It still amazes me to think about the number of fantastic musicians who make up the CalArts jazz faculty: Smith, Charlie Haden (did a double-take every time I would pass him in the "cafe"), Vinny Golia, Alphonso Jackson, Joe LaBarbera, Larry Koonse... saw some great performances, many of them free (as in "the price of admission") while I was there...

Much grass. Perhaps its time for me to do a little reassessing as far as Morris output goes. I recall most liking his collaborations with Mat Maneri...

Clifford -- thanks for the heads-up. Do you have any skinny on the documentation that accompanies the CD? In a case like this, I'm rally hoping for excellent supplementary material / notes? Why might I have been under the impression that, a couple (several?) years ago Morris "gave up" guitar and started concentrating on bass? Is there something to this? In any event, checked out the sample tracks and I'm even more intrigued than before.

20 years ago I might have been willing to make that claim. But that's another thread altogether...

On the Riti label, and reviewed today at DUSTED by Marc Medwin [link]. Anyone heard this? I'm more interested in the Davidson (if you have not yet heard the ESP Davidson trio... get to listening) than the Morris angle (I admire the guitarist's work, but find it a bit dry), and am especially curious to know if any of the scores themselves are reproduced in / with the CD packaging. Thanks in advance.

I'd recommend picking up the Rob Blakeslee disc.

Jack Teagarden's ACCENT ON TROMBONE, originally on Urania... Jack Teagarden (tb), Ruby Braff (tp), Lucky Thompson (ts), Sol Yaged (cl), Sidney Gross (g), Kenny Kersey (p), Milt Hinton (b), Denzil Best (d) Great record, IMO.

Not very "jazzy" at all, but I feel honor-bound to issue a recommendation for the collaboration with Dagmar Krause, BABBLE. "Intense" is hardly the word...

CDs, especially "early" pressings, are already being treated as collectibles. As are MFSL discs, aluminum, gold, whatever. So I suspect all such audiophile issues (DGC Classics) will only appreciate in value.

Nice piece. http://www.nytimes.com/2009/03/27/arts/music/27fire.html

As Allen notes, somewhat overlooked in all those exchanges are A.J.'s gifts as a writer, which are considerable. One of the more memorable literary events I attended in LA featured Albany. She read from a pack of handwritten manuscript pages that otherwise were folded and stuffed into her back-pocket. I believe this was an early draft of a work-in-progress, something of a sequel to LOW DOWN. I wonder what the status of that project is...

I agree, and I should have put at least air quotes around <<savvy>> in my initial response... <<jaded>> being the more appropriate descriptor anyway. My main point being I was glad to be able to hear ADAM'S APPLE with fresh ears. I think some of that lack of appreciation represents a certain anti-BN-adulation sentiment. Silly, and has little to do with the music and everything to do with the mythology of marketing. There's nothing wrong and much, much right with dance music (and don't the original liner notes to this record reference the "contemporary dance"?) and if you leave our considerations of booty-moving -- to employ the parlance of a slightly later era -- you end up with an incomplete and distorted picture anyway.

IIRC, this has never been / will never be one of Cook-Morton's (PENGUIN GUIDE) favorites. But it was the album which "allowed me" to understand some pretty basic features of Wayne's music... the obliquity, tonal choices, the way he navigates the Coltrane influence... the title track being my main point of entry. These days, I'm more likely to turn to THE SOOTHSAYER or ETCETERA or Moncur's SOME OTHER STUFF when I want to hear Wayne from this period, but ADAM'S APPLE is the first point on the circle for me. I wonder how things might have turned out, however, had I been a more savvy listener back then. At the time, I'd not heard THE SIDEWINDER and knew nothing of the BN "formula" (if that is indeed what it was) of the day. Perhaps my not having a sense of that larger context was important to my initial appreciation. Finally, I've always thought Joe Chambers sounds wonderful on this record, and I actually prefer his work with Wayne to Elvin's. Any other thoughts on what Chambers is doing on this session?

'S'all good, what for being just a thang. No mention yet of Davis' INGIA! on Strata East. No masterpiece by any means, but an interesting incursion by the saxophonist into a more electric mode (Louis Davis on the gee-tar, Ronnie Mathews on occasional el-p). And its an "all baritone" date...

Fine date; Monk program; all tenor. My favorite date with Davis on baritone is the aforementioned Dorham JAZZ CONTEMPORARY... which also, IMO, has some of the finest KD on record. And there's a recent Japanese issue that adds bonus tracks.

When I was "wee", was a big fan of the works of D. Manus or Daniel Pinkwater... THE BIG ORANGE SPLOT FAT MEN FROM SPACE LIZARD MUSIC