Joe

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...

Jim -- I've never heard Davis' name associated with Knopf's. Any more info?

Nabatov is indeed a fantastic player. Also: Yosuke Yamashita and Sergey Kuryokhin.

I've found Ronnie Ball's playing often interesting. There's the audible Tristano influence, especially on the Savoy date with Ted Brown and Willie Dennis, but also something else. Can't quite pin it down, but it is there. Steve Colson has led some fine bands (hear NO RESERVATION on Black Saint) and contributed fine work to a number of relatively overlooked recordings (Bright Moments, RETURN OF THE LOST TRIBE; Oliver Lake's MY FRIEND LOUIS; Andrew Cyrille's ODE TO THE LIVING TREE). John Dennis -- not a lot to hear, but what exists is some pretty advanced, Tatum-derived stuff

Well, there's that whole Sonny Red / Sylvester Kyner / Red Kyner situation to consider...

And he throws a mean sucker-punch. That is, "with blistering understatement".

This pianist / composer is mentioned admiringly if en passant by Francis Davis in an essay ("Circles, Whirls and Eights", 1987) about Borah Bergman, but I've never heard any other critic stand up and be counted on Knopf's work. Davis references "three excellent but overlooked albums [dating from] the late fifties". I'm just wondering if anyone here has heard these records -- I believe they were made for the Playback label, a label about which information is just as scarce -- and can discuss them. And, lo and behold, a Google search reveals that Knopf appears to still be active in the music... http://www.wsumc.org/Staff/paulknopf.html Thanks in advance.

Good news; I think these are scheduled for the Mulligan SONGBOOKS Mosaic Select...

Yep, he's a excellent player too. Kinda lost him in the ECM mists, though...

Oh, yes, that Tony Argo date looks quite fascinating. Is it really available for download at MP3.com?

Richard Galliano? If so, yes, amazing musician. If not, I want to know more. Please.

I would be all for this. Some of the best Zoot on record, IMHO. And, yes, adding the CALIFORNIA CONCERTS material would be most welcome. Wonder what shape the masters are in, though.

http://www.erstwhilerecords.com/

Miles Davis' lone Debut session, BLUE MOODS. Mingus, Teddy Charles, Britt Woodman, and Elvin Jones. App. 27 minutes, but a fascinating 27 minutes all the same.