Joe

I would advise all board members to cease and desist with the public commentary on this whole LaRoca issue and concern themselves instead with removing all traces of this recording from their personal collections:

Eh... Still not terribly happy with this...

You better believe it!

Lucky Thompson, maybe? Unique tone on the instrument. And he picked it up in a "modern" context either before or about the same time that Coltrane and Lacy did, IIRC.

I think I'll write the home offices in London and demand that they make streaming video available from their website: http://www.yardleylondon.com/

No, but he plays a variant of it. That one also has a SUBLIME vocal by Helen humes on the same tune, so it's a "must have" as well. The one I'm taling about is to be found here: Byas, like many players, seems to have had a bit of a "routine" on the tune, with certain key points of the solo built in. But not exactly, as you can hear by comparing the two versions. More like "signposts" along the way, if you know what I mean. But the one on the Esoteric/OJC is perfect. Absolutely freakin' PERFECT. It's the sound of a man who knows both the tune and his horn inside out performing with total command of each. Pretty amazing stuff. Right on. I'll be A/Bing these later today...

According to Learned Father's liner notes to Hutcherson's HAPPENINGS, the Herbie Hancock standard was originally written for one of this company's television advertisements. [Largely] Common knowledge, OK, but I just wonder if any of the board's members actually recall seeing the commercial at the time and can offer any sort of description of it. Thanks in advance.

Some fine, fine Byas, supported by the very tasteful Sir Charles Thompson, on this disc: Jim, is that version of "Stardust" you mention the one that appears here?

Had to bring this one back up as I am reallt digging those "Jasper Johns" and "Chuck Noll" designs... How about new designs for Dexter Gordon's CLUBHOUSE, Donlad Byrd's CHANT, and Wayne's THE SOOTHSAYER?

Two more fine Sketch releases.. Daniel Humair -- "Liberté Surveillée", with Marc Ducret and Ellery Eskelin http://www.indiejazz.com/ProductDetailsVie...px?ProductID=92 Steve Lacy / Daniel Humair / Anthony Cox -- "Work" http://www.indiejazz.com/ProductDetailsVie...px?ProductID=91

The tracks are short; there's little "stretching out".

I wonder if this is the same John Voight who appears on these Eeremite releases...

I would agree that Tommy Flanagan never stopped stretching, and that some of his later recordings like LET'S, SEA CHANGES and the Blue Note disc (already OOP, IIRC) are excellent. THELONICA, with George Mraz and Art Taylor, is also fine, but features all the production touches you would expect from a 1982 "straight-ahead jazz" recording (e.g., direct-miked bass). Those Detroit cats... I love Hank Jones for his elegance and Barry Harris for his feeling for the tradition (not overly reverent), but to me Flanagan was the most full-bodied and gutsy of the three.

I hold his one recorded meeting with Eddie Harris in special esteem. And the way he plays on GROOVIN' AT SMALL'S PARADISE will continue to be revelatory to me, no matter how many times I hear that set. Especially "Body And Soul" and "Slightly Monkish".

Gene Ammons... his relationship with his father, the drug problems, his popular success, his significance to the African-American community of his time, jail time, comeback... I'd read it if it were done properly.

AND THE SWING ORGAN, I believe. Also featuring Rudy Rutherford, Aaron Bell, and J. C. Heard. Recently found a copy of this at a local Half-Price Books. Fine stuff, banded for airplay, but not overly "commercial".

Check out The Knitters playing "Trail Of Time"...

Have enjoyed this release immensely since I rcvd. it in a Cadence order a few years ago. Another big for this one.

Albam wrote some fine, fine tunes and arrangments ("Alto Cumulus" comes to mind) for McKusick's "with strings" session, IN A TWENTIETH CENTURY DRAWING ROOM. BTW, the other arranger on this date is Al Cohn.

I prefer couw's cover, actually, but, since the work is done...

I may be in the minority here, but I happen to think that this set contains some of Silver's most personal music. Not just because of the lyrics, which I know are just oo full of New Age-y self-actualization for some tastes, but due also of the sharpnessof the melodies and the sheer depth of the improvsing, especially from the leader. Its as if Horace re-discovered harmony on these dates, and he makes the most of his new knowledge. Also, for sheer historical importance: for answering in the digital age the question, "What was one of the most important and influential post-War jazz artists doing at the beginning of the ME Decade?"

Or: The font, which is as close a derivative I could find to what Reid Miles used on the original WORKOUT cover, is Memphis / Rockwell / Geometric Slab Serif 703. http://www.identifont.com

That's World Middleweight Champion Sugar Ray Robinson, BTW...