Joe

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

My understanding was that the Tristano estate is also rather protective of Lennie's place in posterity. Not necessarily remarkable, but given the circumstances both Jim and Lawrence have alluded to... http://www.lennietristano.com/

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.

I guess that was Miles on the grassy knoll...

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!

Raise your fists for... King Diamond!

I guess I was the first to arrive. [Howl.]

I would stump for DANCING IN YOUR HEAD, though I personally prefer BODY META. But DIYH has a bit more polish and is a little easier to appraoch than the BODY META performances, which are, after all, rehearsals / work sessions. And a final word for a session that been much too hard to come by on CD, even though it contains some of Coleman's finest soloing on record: James Blood Ulmer, TALES OF CAPTAIN BLACK I think it also worth remembering that Ornette's first "true" harmolodic composition is SKIES OF AMERICA. Not electrified, maybe, but really, really, really fascinating music that should not be overlooked if you're having difficulty "getting" his more recent music.

Defintely tone. Initially, I thought the guitarist on #7 was picking his notes a little more robustly than Jim Hall does. Though Raney often sounds a little "sharper" to me than Bickert. Also, some of the little forays into harmonic ambiguity made me think of Raney. I have DAYS GONE BY, the Sackville Ed Bickert / Sonny Greenwich quartet date, and he sounds there much less like a guy filling in for Jim Hall in the Paul Desmond Quartet. But, hey, I mistook Dexter Gordon for Jane Ira Bloom, so best consider the source from here on in!

I can hardly believe I actually was right re: the pianist on #11. And, FWIW, Bickert still sounds much more like Raney than Hall to me.

Harry Allen, Getz, or Zoot, that track is perhaps my least favorite on this disc. As to the current controversy, it's Nietzsche who tells us: "One repays a teacher poorly by remaining a disciple."

I may be wrong, but I think the two Red dates EVENING WITH JOE HENDERSON, with Charlie haden and Al Foster; THE STANDARD JOE with Rufus Reid and Foster -- have somehow slipped out of print. Art Farmer's YAMA?

You all have mentioned many of my favorites -- Glenn Wilson, Carney, Pepper, Charles Davis, Sahib Shihab, John Surman, Chaloff, Gil Melle... -- but how about these players? Leroy "Hog" Cooper He played with Ray Charles and can be heard to fine advantage on THE LEGENDARY BUSTER SMITH sessions. Ernie Caceres Baritone was not his primary horn -- though neither was clarinet, come to think of it -- but he was an important early soloist on the big sax. Check out his work with Sidney Bechet, Eddie Condon, Brad Gowans (on an late 40's RCA 10-inch LP, NEW YORK NINE, that has been issued on CD in Germany), and Bobby Hackett. Carlo Actis Dato Again, a multiple reed player who makes extensive use of baritone. Check out BLUE CAIRO or the solo recital URATU.