Joe

Alvin Queen w/ Dusko Goykovich, A DAY IN HOLLAND (Nilva) http://www.cosmicsounds-london.com/DUSKO/holland.htm

http://www.reviewcentre.com/review49962.html

I wondered what George was up to these days...

Didn't Caleb Carr -- the author of THE ALIENIST -- write the screenplay for this? Would love to see Schrader's film, given his interest in "transcendental film style". Worst news of all? Oh well.

FWIW, I have had the same experience with this disc. Still not so keen on the bonus tracks, but the material with Mobley especially is superb.

http://www.utpac.org/2004/november.php#137 See you there, Lon!

Did somebody already mention the two James Newton LPs -- THE AFRICAN FLOWER and ROMANCE AND REVOLUTION? Both superb albums...

If you have not already, try to find a copy of Marchel Ivery's 3 on the Leaning House label...

Also, Griot Galaxy, A. Spencer Barefield, and the Tribe guys like Phil Ranelin and Wendell Harrison.

His finest album, IMHO. DeJohnette really carries it to the next level.

I used to have this release, then rather stupidly sold it in a fit of financial panic befoer the turn of the milennium. IIRC, it is RATHER much different from Braith's 60's recordings, but, as Jim notes, in totally fascinating ways. Isn't the drummer on this one Jimmy Lovelace?

Looks like the Document label has been reissuing / has reissued his completed recorded works in chronological order, but I was wondering if anyone else here had picked up this disc, which is one of the recent release in what looks like the re-activated "Roots 'N Blues" series (cf. the Leroy Carr, Mamie Smith, The Mississippi Shieks), and wants to discuss. Powerful stuff that should intrigue anyone interested in either spiritual expression OR the roots of those infectious rhythms and stirring vocal styles that have defined so much great African-American popular music. If you want to hear it for yourself, CLICK HERE to access some clips. I'd recommend starting with "No Room In The Jailhouse"...

The Ammons material is spread across these two releases: THE BIG SOUND GROOVE BLUES

Dig what Herb Robertson is doing...

Many happy returns, dude.

Hank Jones is a source of perpetual amazement on this record. Pure and simple.

First things first -- I am NOT a huge Joe Lovano fan, never really have been. I think he's a fine player and all, but his BN projects in particualr have not excited me terribly. With the exception of the Sinatra Songbook album, and maybe the Gunther Schuller collaboration... Anyway, Blue Note slipped this one out with very little fanfare, as far as I can see. Is this contract filler. I sincerely hope not, becuase I'M ALL FOR YOU is easily one of Lovano's strongest records. Its nice to hear him relax a bit and really luxuriate in his tenor sax tone, which sounds wonderfully grainy, frothy and languid here. Coltrane is still the major presence in Lovano's playing, but that playing here in particular is steeped in the work of an earlier generation of instrumentalists, from Prez to Lockjaw Davis', whose tough-but-tender approach to this kind of material peeks around many of these preformance's corners ("I Waited For You", "Early Autumn", e.g.) The rhythm section on a date like this is critical, and the one assembled here is about as blue-chip as it gets: Paul Motian, Geroge Mraz (mixed way low for those of you who don't care so much for his work), and Hank Jones. Fascinating generational cross-section of players when you think about it, but they work very, very well together. Just sample "Monk's Mood" for a glimpse of the unobtrusive delights to be heard throughout. Certainly not dull, or snoozy as a La-Z-Boy and a class of cognac, but not whiz-bang pow either, this is a record that eases you into its complexities and, well, moments of romantic unease. Pretty soon and we'll be complaining about how they don't make 'em like this anymore. (Special bonus: no FBI warning on the disc inlay card.)

I feel the archival footage that makes up the bulk of STRAIGHT NO CHASER tells the story of Monk's withdrawal as eloquently as any bio or whatever. I have never heard anything about recreational drug use on Monk's part before. His 50's arrest has been "spun", as far as I know, into Monk holding certain substances for certain persons, in effect being in the wrong place at the wrong time, not using per se. Then again, I was trusting the word of Harry Colomby, Orrin Keepnews and TIME magazine, so I'm no doubt ripe for the disabusing (nothing new there). Monk also basically moved in with Nica De Koenigswarter out in Weehawken, NJ during his final years, no?

Other than the fact that he is wearing an amazingly life-like Dexter Gordon mask?

FWIW, McNair sits in on some of the performances collected on this fine release.

Have been sorely disappointed in Davis since he took the VV gig, I must say. Did not even bother to read his notes to this... Sigh.

Jim -- what do you make of the "extended" tracks on this one? Got this yesterday, played it for a friend of mine, and we decided it must be among the most INSANE records ever made. (I mean that in a good way...)

What are these "problems"? If I think about the boy - girl relationship in the film too hard, I cannot help but see it as incredibly egotistic and borderline misogynistic. But this may be my problem, not Gallo's.

The man is a reactionary nut, and there are "problems" with BUFFALO '66 (whose "love story" plays like Godard's CONTEMPT in reverse), but I'm still very eager to see this film. I'll never hear "Heart Of The Sunrise" the same way again...

I too am a big fan and would love to sentence all Squirrel Nut Zippers fans to a Hicks marathon. To show how its REALLY done. WHERE'S THE MONEY?