Joe

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.

What's this one about? Art school, Japan, continental post-modernism, sex and name-dropping. Full disclosure: the author and I attended the same graduate writing program and have many friends and colleagues in common -- many of them referenced / fictionalized in this book.

Maxi Kim: ONE BREAK, A THOUSAND BLOWS!

Evans does appear on JAZZ IN THE SPACE AGE, playing alongside Paul Bley... terrible title, fascinating LP.

A Hipgnosis design, BTW. And, according to Wikipedia (anyway)... "The models photographed were actually Genesis P Orridge - of Throbbing Gristle - and girlfriend Cosey Fanni Tutti."

A fine idea... 1) Enrico Rava / Lee Konitz, L'AGE MUR (Philology) -- worth it for the playing of both principals, which is up and often above what one would expect... but the Italian rhythm section (Rosario Bonaccorso on bass, and Massimo Manzi on drums) here is equally wonderful, pushing / pulling / stretching at will, and with subtle inventiveness. 2) Frank Lowe, EXOTIC HEARTBREAK (Black Saint) -- I've been singing the praises of this record for years. A brilliant statement on "the jazz life", if you know what I mean. With Butch Morris, the fabulous Amina Claudine Myers, the late Wilber Morris and one Tim Pleasant on drums. 3) Jerome Harris, RENDEZVOUS (Stereophile) -- very OOP (AFAIK), but worth tracking down. Here, Harris plays acoustic bass guitar (as opposed to string bass), with support from Marty Ehrlich, Art Baron, Steve Nelson and Billy Drummond; also a great showcase for Harris the composer (a pleasant surprise if all you know is his work with Rollins). 4) Shorty Baker & Doc Cheatham, SHORTY & DOC (Prestige Swingville / OJC) -- Baker being one of the classic Ellingtonians, of course, and here's a rare opportunity to hear him stretch out and show off those qualities that made such an impression on a young Mile Davis. 5) George Garzone / Jeff Palmer / Richard Poole, OPPOSITE VOLTAGE (Music Artists Co.) -- a organ / tenor / drums combo playing in almost entirely "free" style. 6) Jay Hoggard, IN THE SPIRIT (Muse) -- for all intents and purposes, a tribute to Eric Dolphy, but one that avoids being obvious / derivative. With James Newton, Dwight Andrews, Mark Helias and Ed Blackwell. Bonus: a fine reading of Anthony Davis' "Andrew", dedicated to Andrew Hill (IIRC) 7) Ralph Pena, MASTER OF THE BASS (VSOP) -- vintage informal recordings, featuring the former Giuffre associate in duets and trios with Pete Jolly, Joe Albany and Herb Geller. 8) Susie Ibarra, RADIANCE (Hopscotch) -- Charles Burnham lights it up; killer version of Hendrix's "Up From The Skies". 9) James Carter / Cyrus Chestnut / Ali Jackson / Reginald Veal, GOLD SOUNDS (Brown Brothers) -- A "Pavement Songbook"? Should be just a novelty record, shouldn't work, but it isn't, and it does... 10) Gerry Hemingway, THE WHIMBLER (Clean Feed) -- Herb Robertson; get to know him...

Funny... was listening to Krivda's work earlier today on a date issued as LEE'S KEYS, PLEASE (and attributed to the "Cadence All-Stars"... recommended, BTW) and wondered about the status of those Inner City records. Excited to see that they might be available again.

IIRC, Dorham also wrote semi-regularly for DOWNBEAT in his latter years. Record reviews, mostly, but I believe he also penned an autobiographical sketch for the magazine as well. I for one would love to have all that material collected.

"Blues Eleganté" by Kenny Dorham and The Jazz Prophets, from their eponymous 1956 ABC / Paramount session. Because it is just so very, very decidedly hip.

The thread that keeps on giving... been looking forward to the reappearance of this material for quite some time.

Thanks Chuck. This is wonderful news indeed... nice to see James Newton's name on a new release as well.

By John McWhorter / CITY JOURNAL [snippet] Will Marion Cook is a name to reckon with in the history of black American music. “His great genius will always be a guiding star to those of us who remain,” black violinist Clarence Cameron White wrote on hearing of Cook’s death. Trumpeter Arthur Briggs called Cook “the greatest real musician ever.” Duke Ellington and Eubie Blake praised him as a mentor. [/snippet] Link to complete article

Yes, a label very worthy of your support. By all means, snag the Jimmy Lyons box set while its still available.

And... if you can cram almost the entire album credits in your 'do... that's impressive styling...