Joe

I must be totally clueless, as I had no idea until I checked the AMG blurb on this that she is married to Elvis Costello.

The Charles Prestige dates from the early 50's indeed anticipate several developments in jazz that would not be accepted, if they ever were, in the mainstream until the end of the decade and into the 60's. For instance, COLLABORATION WEST has some early "modal" structures on it -- "Margo" is a lovely ballad -- and either "Further Out" or "Etudiez le Cahier" is a serial composition. The important figure in the background of this record is California composer / educator Wesley La Violette, whose other pupils included Jimmy Giuffre and Martin Denny. Charles could also flat-out blow, as the Bethlehem date or the date with the two Bookers (Ervin and LIttle) proves. Check him out, too, on this session (with Sonny Clark, Frank Morgan, and Larance Marable):

Also did some production work for Prestige in the 50's -- if I remember correctly, Trane's DAKAR was a Charles date.

Jim -- you'll just have to settle for a cinammon-flavored Italian soda.

Johnny Switchblade, Adventure Punk!

I am anything but a Bill Frisell fan, but he does sound terrific on the latest Dave Douglas record -- STRANGE LIBERATION -- which is, I feel, otherwise kinda lackluster. But Frisell's playing is free of additives here, and it is THAT good... Joe Bob says check it out.

Had the technique of Lennie Tristano, the blues sensibility of Wyn Kelly, and the emotional vulnerability of Bill Evans. A rather complete package. Be sure to check out: the latter of which, with its unusual front-line, is one of the great all-time BN sessions (IMHO).

"I've had a perfectly wonderful evening. But this wasn't it." "I married your mother because I wanted children. Imagine my disappointment when you arrived." "Quote me as saying I was misquoted." "Military justice is to justice what military music is to music." "Who are you going to believe, me or your own eyes?"

Ben Monder, whose playing is (mostly) free of Frissell-isms.

I've always loved how Bill Dixon affects Taylor's music on this session. Then again, this is just a classic -- though sadly not well documented -- period for Cecil, as STUDENT STUDIES (reiussed last year on Fuel 2000 or whatever that label is) also attests.

I've always had a soft spot for STAR HIGHS (Criss Cross). Leave us not also forget the Konitz / Marsh material on Prestige... What do you all think of the Marsh / Joe Albany "rehearsals" that were released on Riverside as THE RIGHT COMBINATION? This recording gave me my first exposure to Warne...

Actually, Jim, this was my first thought as to what the set would be.

Note that these are dropping in on March 23rd. I Love John Frigo… He Swings Roger Kellaway Cello Quartet Lyle Ritz - How About Uke? Tony Scott [1967] Stuff Smith - Cat On A Hot Fiddle

S. F. SORROW, yes. PARACHUTE, more yes. Yes yes.

Interesting. And so glad I did not see this before I wrote my piece on the JACK JOHNSON box.

Rcvd. this email in the last 24 hrs. from the good folks at CBMR. However, they failed to note his participation in Max Roach's IT'S TIME project, which is how many contemporary listeners know his name...

Impossible to name one. Some other candidates to consider, though... Sly and The Family Stone -- not R&B, not funk, not rock, but all of the above... Love Moby Grape The Fugs The Yardbirds -- that way you get Clapton, Beck and Page all in one fell swoop; and they did have some GREAT singles and, in the vein of Jim's suggestion... The Count Five

I really, really, really like and would recommend some of Hawes later sessions: | the duets with Charlie Haden (AS LONG AS THERE'S MUSIC); | the Chicago recordings with Cecil McBee and Raoy Haynes (Enja); | and the European sessions with Jimmy Woode and Art Taylor, available currently under the title BLUES FOR BUD.

Fascinating. But how did the tune come to Miles' attention when it did?

A good emasure of Chick's importance as a composer is to think about how many modal structures has "Litha" inspired.

I think of the painist who plays so marvelously on Joe Henderson's RELAXIN' AT CAMARILLO. Chick's solo on "Y Todavia la Quiero" was what made me really take notice of him. I still think he'll wind up being known more for his compositions than anything else, though.

Disappointing, if not terribly shocking, news about JSP.

Fascinating. Thanks for the heads-up. (Who's going to start the Bobby Wellins thread?)

Perhaps a vocalist?

The 50's stuff is indeed much more about the vocals. The material on the Hep discs, though, is wonderfully idiosyncratic.