Joe

In a vain attempt to comprehend my daily increasing irrelevance... (Y: The Descent of Men by Steve Jones) To be followed by which I am to review.

I am a big fan of the first two Airto LPs, which I believe were issued on Buddha. Can be found paired on one CD (if you look hard enough), entitled SEEDS ON THE GROUND. Much more organic than later productions, with both Hermeto Pascoal and I think Sivuca also part of the ensembles. Ron Carter holds down the bass, and, well, you get good Ron Carter on these dates. "O Galho da Roseira" is a particular highlight (for me).

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The Brownie set in particular is a good snag, as it collects a good bit of material that is not easy to acquire otherwise (e.g., the jam material with Joe Maini). The Desmond set features some of the best mastering I've ever heard. The music itself is uniformly superb. I think the entire contents of this set are now available in [multiple] single CD issues, in case you choose to acquire the material that way. Whatever the case, these are classic / essential / whatever recordings. As for the Desmond WB session -- FIRST PLACE AGAIN -- it is indeed sublime. Easiest way to track it down might be by looking for the recent reissue on the Gambit label. However, I fear Gambit may be another European chop-shop outfit. CD Universe link You might also look for the I believe legit Discovery label reissue. Same material, available under the title EAST OF THE SUN.

Carney being the woodwind artists of choice for artists such The B-52s, Tom Waits (FRANK'S WILD YEARS), Galaxie 500 ("Blue Thunder" and "Decomposing Trees"), Jim White, Grant Lee Buffalo, Marc Ribot and Elvis Costello (KING OF AMERICA). I've dug him every time I've heard him with these popular favorites. Recently, I learned that Carney has 3 solo rekkids of recent (1997 - ) vintage. Anyone heard these? Anyone care to offer any thoughts? I'm currently eye-balling this release... Thanks. Joe

Thank God I saw this thread...

A portion of Albany's book first appeared in the TIN HOUSE REVIEW (issue # 10). Worth looking into if you're on the fence on this one, or if you're wondering whether there are things in that piece that did not make final copy.

No Judee Sill fans here?

Wrong record. Well crap. I'm going to blame my medication.

AMG indicates this was reissued as a JRVG. It also appeared in the 1500 series reissues of a few years back. Which is how I first heard it. Cannot for the life of me recall who penned the notes, but I don't recall it being Melle. IIRC, the title (though not the composition) "Nice Questions" was inspired by Herbie Nichols.

How does this release stand up to that compilation of Okeh material that's available on Legacy / Collectables? Been looking for a good entry point in their discography...

Where to start with these? Any one a clear best? I heard a live track on a magazine comp roots of Led Zep and loved it... I have GUITAR PLAYER, which is actually a bit easier to get here in the States. (Nice Castle reissue.) His first LP? Sorry, I can't recall, though, though he seems much more a "jazz"-er at this stage of his career. CD Universe link AMG link I think the critical consensus is that Graham's most important dates are the Folk, Blues & Beyond... solo date and the Folk Roots, New Routes collaboration with vocalist Shirley Collins. Sadly, the copy of the re-issued Folk, Blues & Beyond... I ordered in October is still on back-order. Oh yeah... nice intro to Graham in Richie Unterberger's UNKNOWN LEGENDS OF ROCK 'N ROLL... Amazon link

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.

Archvists from the area have been posting to the ARCHIVES listerv all this week. You can search the messages posted to that group here: http://listserv.muohio.edu/archives/archives.html A specific message (e.g.) Also, FYI... The Louisiana Library Association has set up 'The LLA Disaster Relief Fund' and is now accepting monetary donations to assist school, public, and academic library restoration efforts in Southeastern Louisiana. Please make checks payable to: LLA-Disaster Relief And mail to: LLA 421 South 4th St Eunice, LA 70535

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.