Joe

The session I kept thinking of was Sonny Criss's SONNY'S DREAM: BIRTH OF THE NEW COOL, with arrangements by Horace Tapscott. Partly this is due to similarities in Hill's and Tapscott's use of bass clef instruments, partly to some similar rhythmic devices. That said, Hill's scores are much more active and asymmetrical than Tapscott's... Another interesting thing to consider is that this session was recorded right on the cusp of the 1970's, and that several of the musicians involved -- Farrell, White, Priester, Johnson, even Shaw to a certain extent -- would go on to have important careers in "fusion". So far, I like PASSING SHIPS OK, but I'm not ready to proclaim it much more than "intriguing" at this point.

A much more reasonable review of this disc, IMHO: http://bagatellen.com/archives/reviews/000156.html

I would have to agree with this assessment. And that is also why BLACK FIRE is sitll my favorite Hill session. I don't think Roy Haynes conribution to that record has ever been appreciated to the extent it should.

On the new Water reissue of Eddie Gale's BLACK RHYTHM HAPPENING, there is a credit for one "Jamie Lyons -- Alto Sax". Is this really an error? Jimmy Lyons, perhaps? Is this how the credit reads on the original vinyl issue?

Herman Chittison, anyone?

What's a Milazzo, you say?

Was pianist King Fleming part of the Muhal rehearsal band / pre-AACM circle? I seem to recall reading something about this somewherer (Davis' OUTCATS), but my memory could be faulty. In any event, Fleming's Argo date MISTY NIGHT is certainly interesting, and I love to have more information on him. Ditto the post-Mingus Clarence "Gene" Shaw.

The Denon Japan Savoy CD re-issues from the early and mid-90's (purplish-blue inlay cards) are a veritable cornucopia of such gaffes and mis-translations, especially in the realm of composer credits. I wish I could think of some specific examples right off the top of my head, but, dang, it seems like every re-issue was screwed-up in some way, I can hardly pick JUST one...

Obviously, I need a much cooler handle... or new sexual proclivities... Hey, the prerequisites for celebrity NEVER change, do they?

With those forearms, he looks more like Popeye!

Plus, we can always turn off our TVs, turn on our stereos, close our eyes, and just LISTEN to the music.

And, BTW, is all you want are performances, you might care to check out these 2 DVDs... http://www.reelinintheyears.com/afbf/

Yep, the Wenders film was a little goofy, a little gushy -- a fan film, no question about it. But I'll watch ANYTHING with live footage of Skip James in it. Spell-binding. I would have liked more of Blind Willie Johnson, a figure of extreme personal importance to me (to think he walked the same streets of Dallas that I have...), but I suppose that's OK, I have the records, which are majestic despite the limitations of the medium. However, I do think the J.B. Lenoir sections were superb, and a more than fitting tribute to an artist who certainly deserves to be better known. Jimmy Reed with a social conscience... The best contemporary interpretations for me were turned out by Cassandra Wilson, Los Lobos, the Blood Ulmer / Vernon Reid / Eagle Eye thing (would like to have heard more from that gathering), Garland Jeffreys, and Lou Reed, who sounded like shit but got the spirit right. But its hard to say when all you get are bits and bites of performances. Its just too bad Sonny Sharrock isn't still alive; I'd much rather have heard him pay tribute to Bind Wille than Marc Ribot.

An important piece of the puzzle indeed...

Damn, I've been waiting FOREVER for that Bud Freeman session. Finally!

Well, having watched episode 1, I think it would be a mistake to judge this series too harshly. Scorsese's "piece" is not a documentary per se; its just a non-fiction, non-narrative film. Yes, it was slightly disjointed, but I do feel that it was at least an honest expression of the various participants' experience of the music. And, as good as the Johnny Shinces footage was, I most enjoyed watching Son House. Damn!

Yes, a complicated figure. Not necessarily an admirable man, but what a powerful film-maker. Brownie -- I'm also a big fan of WILD RIVER. Best acting of Lee Remick's career, IMHO.

Well, I suppose if "Maiden Voyage" itself was originally just the theme to a perfume commercial...

2 scoops of James Moody please... AKA

SMACK UP! is as fine an introduction to Art Pepper as I can think of. Though there's much to recommend as far as the third volume of the COMPLETE ALADDIN RECORDINGS (the quartets with Carl Perkins) goes...

I like this one a lot because, with a little editing, it could easily double as a Dave Pell Octet album cover:

Some highly recommended late-period Pepper. (I'll spare you my full review of the set)... http://www.fantasyjazz.com/html/pepper_box4431.html

My first Cobb purchase: Cobb with Garland is, for me, a nigh-irrestible combination. For sure don't neglect the Black and Blue material. DEEP PURPLE, with Milt Buckner, is fine, as is the session with Al Grey

FWIW, another Don Martin Prestige cover (probably my favorite one, actually), for THE ART FARMER SEPTET Weren't some Prestige sessions originally ONLY released on 16 2/3 RPM? I'm thinking specifically of the Curtis Fuller / Hampton Hawes / french horns date...