Joe

A couple of contemporary guys working in something like this same vein... Ben Chasny (aka Six Organs Of Admittance) Jack Rose (formerly of Pelt) My favorite Fahey record remains this one... "On The Banks Of The Owchita", yea... plus a fantastically eccentric reading of "Days Of Wine And Roses". Also, it looks like a lot of the Davy Graham 60's releases are finally making it back to CD, with bonus material. Less well known than Bert Jansch or John Renbourn, Graham was sort of the Fahey of English folk music. Incredible technician with some serious jazz smarts, too. Seems like he recorded for Kicking Mule in the late 70's. http://www.daveygraham.moonfruit.com/ http://www.thebeesknees.com/bk-fr-ct.html

For those of you curious about the IN FLORESCENCE cover shot...

This A&M jazz "series" was nothing if not interesting, and there are more than a few worthy recordings that came about as a result of whatever corporate experimentation was going on at the time: Don Cherry's ART DECO (w/ James Clay!), Sun Ra's PURPLE NIGHT, Gerry Mulligan's LONESOME BOULEVARD. Was John Snyder the producer on all of these? Was this a Quincy Jones brainchild? I for one would like to know more about how these releases came together... IN FLORESCENCE I've not listened to in a long long time. Recall it being very bright (no pun intended, honestly; partly due to the recording quality itself) and occasionally more lyrical that I expected. I don't remember the spoken word / poetry bits at all. However, after Clem, the thing I most remember about it was that it was one of the few widely avaialble Taylor records available at the time when I was just developing a taste for his work ('91 or so). Only recently have I located a used copy. Was thrown again by the image of Taylor on the CD cover wearing one of those COSBY SHOW sweaters and the Ray Bans.

Low comedy, supplied by an Irish-American friend of mine. http://www.bbc.co.uk/radio/aod/genres/come...html?bbc7/boosh "Jazz was, Jazz is, Jazz be..."

Another vote for 3 X 4 EYE. I happen to think "Variations on a Folk Song Written in the Sixties" is one of this band's -- and Mitchell's -- most beautiful recorded performances. The QUARTET date (with Muhal, George Lewis and Spencer Barefield) recently reissued by Sackville is also very much worth picking up, IMO.

IMO, Lee Morgan's most "progressive" playing is on Moncur's EVOLUTION. And wasn't that date one of the first Mogie made upon emerging from his mini-retirement?

That's pretty brutal. Maybe this reviewer is still being feeding off the Robbie Robertson backlash (ad RR, whatever his musical gifts, has earned his share of pummeling). And I would argue that there was never, ever anything phoney or straining about Richard Manuel's vocal performances, particularly on those first 2 LPs. In fact, Manuel is the primary reason why I still pull out my copies of BIG PINK (which does sport some marvelouly subtle psychedelic touches) and S/T. Have to agree though that, after STAGE FRIGHT, rigor mortis does begin to set in.

I've seen this release in local record shops and have been wondering about it for some time. Thought I would wait until a review of it popped up before looking into it more closely, and, lo but behld, there's now one over at the DUSTED MAGAZINE website... http://www.dustedmagazine.com/reviews/2501 Seems to have little or nothing to do with the Jazz Corps. material (the Rahsaan record, plus 2 volumes of really strong "Live at the Lighthouse" recordings on the Cadence label), but of potential interest nonetheless. Ciao, Joe

IIRC, the 70's BN reissue of these trio sides included liner notes by Ran Blake. Anyone have access to those? If so, would you be willing to post them here? Silver's trios are not only great listening -- they're "important" in the same way the Monk and Bud trios are (though perhaps not to the same degree).

I recently revisited TERROR TWILIGHT and have to revise my opinion. I still have no use for "Major Leagues" (Malkmus paying tribute to Air Supply?), "Carrot Rope", or, 8 times out of 10, "Spit On A Stranger", but the rest of the album works quite well. On the whole, mosr darker and more sinister in aspect than I remember. I bleed in beige.

Great LP, and it also sports one of the most eye-abusing Op Art LP covers ever designed.

For those who may have missed it (like me, until yesterday): I'm not certain, but I believe this is the first collection to be issued -- at least in the CD era -- of Moore's earliest recordings. As an added bonus, sidemen include: -- Tiny Grimes -- John Hardee -- Sammy Benskin -- Pete Johnson -- and a small swing-to-bop, mostly Ellingtonian band led by Budd Johnson and featuring Dick Vance, Jimmy Hamilton, Harry Carney, Junior Raglin and J. C. Heard Good stuff.

Well, there might be some good live music at the Fallout Lounge (Exposition Ave, near Fair Park) on the night of the 17th (Wednesday)...

Douglas Woolf, THE TIMING CHAIN

America: Do You Remember the Love?, B2-46755, 1986. A Bill Laswell production. Pretty good as I remember, more vocals-focused, just not as adventurous as the Columbia and AH material.

Nearly every single one of Muhal's Black Saint dates has something to recommend it, though I admit soft spots for the marvelous SIGHTSONG, 1-OQA+19 (with Braxton and Threadgill), REJOICING WITH THE LIGHT ("Blessed Be The HEavens At 12"), and the at-times odd but always compelling SONG FOR ALL. That said, I find the aforementioned YOUNG AT HEART WISE IN TIME (one long quintet track with Threadgill, Leo Smith, Lester Lashley and Thurman Barker; one long solo piano improvisation) and the much later ONE LINE TWO VIEWS (on New World) to be among his Abrams' finest achievements. The latter in particular is an unjustly overlooked recording, IMO.

Kalaparusha's lone Black Saint date, PEACE AND BLESSINGS with Longineau Parsons, is worth investigating. Parsons is a strong presence here, but rather than overwhelm the leader, he spurs him on to some really fine playing. Of his recent work, I still like the first CIMP recording, DREAM OF, the best. And then there is this collaborative venture...

Thanks for the info everyone. Great to hear that about Hot Lips Page...

Gene Ammons Hot Lips Page Shelly Manne Yusef Lateef John Carter

You cannot go wrong with a band who dedicates tunes to Marie [not Red] Callendar...

Not as bad as I feared it would be, but also not as funnny as it could have been. However, Sam Rockwell gives a thoroughly mad, almost gratuitous Method performance as Zaphod Beeblebrox, who is ostensibly an alien but is actually the only 'Merican in the entire film. Think, "what if Bill Clinton and George W. Bush shared the same body?"

More ideological posturing. I think he simply means for "world music" to be code for "what Dave Douglas and his ilk are doing". But I love it that a diss of traditional African musics is implicit in his "informed opinion". Luckily, his interviewer then throws him this bone... Yuck.

Not sure how rare, unheralded and / or valuable these are -- actually, any furher info regarding these items would be most welcome -- but I am gald to have the following books: King Joe Oliver, by Walter C. Allen and Brian A L Rust (1958; London, Sidgwick and Jackson) Hot Jazz : The Guide To Swing Music, by Hugues Panassié, Lyle Dowling, and Eleanor Dowling (1936; New York, M. Witmark & Sons) Blues: An Anthology, edited by W. C. Handy, illustrations by Miguel Covarrubias [an important Harlem renaissance figure] (1926; New York, Albert & Charles Boni) Finally, I think this volume contains some marvelous writing about the music:

I can vouch for that... Do you know Roger, Joe? Not as Jim does, but I have had at least a couple of very enlightening, as well as entertaining, conversations with the man. And I once bumped into Marchel while coming out of the [super] Kroger on Greenville and Mockingbird...

I can vouch for that...