Joe

Uhhh, Julius Hemphill, anybody? BLUE BOYE and ROI BOYE AND THE GOTHAM MINSTRELS have both made it to compact disc.

Dunno. It just sounds like a rather careless, flat DAT dump to me...

Would you all say the "second great Miles quintet" (Shorter, Hancock -- a Chicago cat, FWIW -- Carter, Williams) was also responsible for the installation of this kind of improvisation as a standard?

The NUMATIC SWING BAND date on the JCOA label is some of the finest Rudd you're going to hear. Also some incredible soloing from Dewey Redman. More excellent Rudd of recent vintage...

BTW, that's hardly a fair assessment. Anthony Davis' work in the late 70's and early 80's shows a strong Hill influence as well.

Yes, there is a big dose of M-BASE in Iyer's music, but his music is also grounded in the fundamentals of Carnatic music as well (perhaps reflective of his South Indian heritage). As Nate notes in his review, there's quite a bit of Carnatic rhythm underlying the strucutures to be heard on PANOPTIC MODES. An increasingly important artist, IMHO. And, if you're interested in more young pianists influenced by Andrew Hill, you might care to look into John Bickerton's work, particualrly SHADOW BOXES on Leo.

Richard Tabnik is an interesting player, not nearly as orthodox as some of Tristano's followers, touched by some of the more free-leaning players on his instrument. I have IN THE MOMENT, his trio date with Cameron Brown and Carol Tristano, and it is quite fine. Nate, you may want to take especial note of this date given that track 6 is entitled "Lester Young's Solos on Shoe Shine Boy [Takes 1-2]". Been quite a while since I spun this one, though. Connie Crothers is certainly worth checking out -- I have both JAZZ SPRING, a quartet with Brown, C. Tristano and Lenny Popkin, which features playing more "romantic" than one might normally assocaite with the Tristano school, and SWISH, a somewhat unusual duet recording with Max Roach. Agreed that Mosca's few recordings are quite exquisite, but, unfortunately, the CD transfer I own of his excellent solo recital (A CONCERT) is distractingly poor.

Definitely MUSA ANCESTRAL STREAMS and the Arista session (TRAVELLIN' MAN / BLUES FOR THE VIET CONG). Among his many "sideman" appearances, this one stands out, and its available again after some absence from the catalog:

My two well-rubbed pennies: When Sweet Poppa Lou's boogaloo material is good, it is superb. Cf., "One Cylinder" from ALLIGATOR BOOGALOO or virtually all of EVERYTHING I PLAY IS FUNKY. When it is less than good, well, its pretty darn cheesy. Luckily, there only a few really greasy dollops of Velveeta sammiched between the LP's you've listed.

Don't overlook this Water re-issue:

Rusty Bryant's Prestige dates -- now available from Fantasy -- are among the best from this era that I've heard. SOUL LIBERATION and FIRE-EATER in particular are killer sessions. And another plug for Fathead Newman's CAPTAIN BUCKLES. If you dig what he does on Smith's THINK!, well, you have to hear this one.

FWIW, I like both Moran and THE BANDWAGON a lot. And I think he is a great example of a truly important young "jazz" artist. That is, he is doing vital, enjoyable, potentially important and even innovatory work without abandoning his roots. To me, musicians like this are in sadly short supply these days. That said, THE BANDWAGON sounds little better than a bootleg in terms of recording quality.

Jim: nobody throws a curveball -- or calls an audible -- quite like you.

Jim -- you KNOW I'm in. Gotta raise my batting average with you on the mound. So to speak. Caught looking, Joe

I am still trying to completely understand NATURAL ESSENCE, which I own but which I do not listen to with anything like regularity. Like Lon says, it is another of those BN sessions from the period which is remarkable for the way in which it -- maybe not BREAKS, but offers a very unique parsing and reinterpretation of certain formulas. I do know that is Washington had never recorded anything other than the solos to be heard on Horace Silver's THE JODY GRIND, however, he'd still be an important and frustratingly under-recognized figure. If ONLY there was more material by that edition of the Silver Quintet; if ONLY, as I''ve heard, Horace had not lost his patience with the increasing "unruliness" (in terms of musicianship, you understand) of his front-line...

:excited:

Tres cool!!! Terry Gilliam meets Reid Miles. Gotta love it.

Glad to hear Mr. Morgan is still doing well. I wish he would make it to the recording studio again.

I'll take THE PRISONER over MY POINT OF VIEW anyday. There's a level of inspiration in the playing and writing on the former that I just don't find on the latter. Caveat: I'm not a great huge Hancock fan. I feel the great majority of his work as a leader tends towards the bland. To me, his best work was with the Mwandishi band (up through SEXTANT).

My thoughts exactly.

Perhaps its an olive branch. Or maybe I just like olives too much. Frankly, if Ornette sees even a dime from this, I think it will have been worth it.

Lincoln Center Jazz Orchestra with Wynton Marsalis The Music of Ornette Coleman with Special Guest Dewey Redman The Lincoln Center Jazz Orchestra with Wynton Marsalis celebrates avant-garde forefather Ornette Coleman, exploring seminal works of this downhome, groundbreaking composer and instrumentalist. Coleman sideman, the masterful Dewey Redman makes a special appearance at this highly anticipated event. Performances: Thursday & Saturday, February 19 & 21, 2004, 8pm Alice Tully Hall http://www.jazzatlincolncenter.org/handhel...asp?EventID=325

Has no one mentioned Mr. James Spaulding yet? FWIW, my favorite Spaulding appearance is probably on Bobby Hutcherson's PATTERNS. Either that or Wayne Shorter's SOOTHSAYER.

Still waiting to hear more Andrew Hill w/ Philly Joe Jones. And more Hill with Walt Dickerson. And more Hill with Lee Konitz... But, man, wouldn't it be nice to hear those BLACK FIRE rehearsals with PJJ? The drums are so essential to Hill's music, and 9 times out of 10, account for why I prefer some Hill sessions over others. Would love to hear Andrew Hill playing with a gamut of AACM'ers -- Roscoe Mitchell, Anthony Braxton, Douglas Ewart, George Lewis, Leo Smith, and so on. Though I don't think of him as much of an audible influence to these musicians, with the possible exception of Braxton and Mitchell, I do think his conception on records like SMOKESTACK and DIALOGUE was inspirational to them. Finally, in all seriouness, the classic-era BN artists who I would have loved to hear work with Andrew Hill? Jackie McLean and Grachan Moncur III.

Any Rusty Bryant listeners here? Includes SOUL LIBERATION, which is bad, bad, bad, bad, bad!