Joe

meets 'Nuff said.

Rostasi -- concur re: Lee Konitz and Andrew Hill, SPIRAL, high point of that particular LP, IMO. Also, the AShby recording you mention... is that the solo harp disc from '84?

Was just listening again the other night to the Massey Hall Bird / Diz / Bud / Mingus / Roach recording, and Dizzy was clearly thinking about this song that night. He quotes from it at least twice, once on "Perdido" and then later during "Hot House". My understanding is that the film was initially as famous for Raksin's theme as for anything else (i.e., Gene Tierney's otherwordly beauty). My favorite version may be the Jeanne Lee / Ran Blake rendition on NEWEST SOUND AROUND. More "jazzed" Raksin on record... "Slowly" on Harold Land's EASTWARD HO! "Love Song From 'Apache'" on Coleman Hawkins' TODAY AND NOW "The Bad And The Beautiful" on THE JOHN LEWIS PIANO And: Davis Raksin interviewed

I have two brothers -- one older, one younger -- and a sister to boot. Though I rarely boot her these days, as her husband might have something to say about that.

On a slightly different note; received this message via the Avant-Garde Yahoo! group list this morning...

As this board's Shawn has pointed out, there are any number of mid- to late period Blue Notes for which Pearson probably supplied uncredited arrangements. Records like IDLE MOMENTS and Lee Morgan's CHARISMA being a probable cases in point.

Late -- please, who is credited with that photograph?

Almost looks more like a Bacon portrait than a photograph...

The Braxton photo on the cover of 'The Wire' is the darkest photo I have seen on the cover of a magazine since Time magazine doctored the mugshot of OJ Simpson back in 1994! And the interview is even darker... Interview was done by Brian Morton (he of the Penguin Guide to Jazz! Now I'm interested...

These three are favorites: Berio, VOCI Lachenmann, SCHWANKUNGEN AM RAND Janáček, A RECOLLECTION ["In the Mist" etc.]

I'm with Chuck on the Cecma discs. METAPHYSICAL QUESTION is a fine trio with John Lindberg and Thurman Barker, and TEAM WORK consists of Lindberg / Ragin duets. The Justin Time releases find Ragin playing very well in a number of diverse settings, but I find the challenges he sets for himself on these earlier dates the more interesting. Of course, any of the Roscoe Mitchell releases with Ragin are worth hearing: SNURDY MCGURDY..., 3 X 4 EYE, MORE CUTOUTS...

Monday Feb. 7... An Evening With Sharon Jones & The Dap-Kings / ( Featuring Members Of Antibalas Afrobeat ) In The Gypsy Tea Room... $12 Day Of Show... http://www.gypsytearoom.com/calendar.asp

I think this portrait is most true to life.

Allen -- I would agree. I enjoy Dylan a lot, but less than I value him as as someone to study. Though there are times when I wish I had never watched DON'T LOOK BACK; he and Neuwirth could be so vicious. My favorite Dylan remains NEW MORNING, a record which is a bit softer in the middle -- and the head, probably -- than those acknowledged masterpieces. On songs like "The Man In Me", "Went To See The Gypsy" and even "Sign In The Window", he does step into different personae, becomes people who might entertain the possibility of castigating themselves or regretting who they used to be.

I always thought "Positively 4th Street" was a pretty scathing put-down of said crowd. Another good example; I believe this song is widely assumed to have been directed at Phil Ochs. And I blieve I may have read somewhere that "Just Like A Woman" might be about Joan Baez, but it might also not really be about a former flame or female hanger-on at all. So that the put-down, as usual with Dylan, is made up of several layers of verbal brilliance moving both with and against one another. (If that makes any sense.)

I rather liked it when I heard it, though I must say I have not returned to it in awhile. I think Aebi adds much to this particualr project. I know I can;t say that about every Lacy project that calls upon her unusual talents.

Will this be archived on the web anywhere? Anyone rolling tape?

Another semi-digression... judging from his songs (I don't know, pick one at radom from BLONDE ON BLONDE), Dylan did not have much nice to say about the bohemian crowds that (once) embraced him. To be in it is not necessrily to be of it. The late Pepper I find most fascinating is to be found on those Atlas sessions. Pepper and Konitz, Pepper being asked to recreate the halcyon days of West Coast jazz, Pepper and Sonny Stitt at his frostiest... little grandstanding on those sessions.

Maybe my pick of Jackie's Prestige output, and my introduction to Hardman's "running" trumpet, as I believe one critic called it. I think he plays extremely well but with a slightly different edge on Lou Donaldson's SUNNY SIDE UP. For some unfathomable reason, a portion of SAYING SOMETHING, but not the entire session, has been reissued along with Blakey's MIDNIGHT SESSION in this package:

Nate Dorward, a semi-regular here, runs a literary magazine, THE GIG, that concentrates on contemporary poetry of a more experimental cast http://www.ndorward.com/poetry/

I believe the offending Post may have been gostwritten.

Jimmy Woods: (Joe Gordon, LOOKIN' GOOD)

Urgent affairs of state called Breshnev away from Duke's Moscow performance. He did, however, send his eyebrows to the concert in the spirit of goodwill ambassador-ship... yet they were seen making a polite exit before Ellignton brought the band back for it's encore.

Skip Spence's OAR. The recent Pavement reissues have added tonz o' "album-era" performances otherwise only available as B-sides, on EPs, if you happened to tape John Peel's program that night, etc. SLANTED AND ENCHANTED benefits greatly from this approach. The trick is to put out a release that is genuinely expansive without being drily exhaustive.

Curioser and curioser...