Joe

Check it out: http://www.fantasyjazz.com/html/holloway9335_sp.html

From Sun Ra's private collection...

... it will most likely be DAMN hard to find a replacement stylus for your hi-fi.

Another instance in which the old bromide "if it ain't broke, don't fix it" is applicable...

Shawn and Jim -- be sure to check out my AOW selection. http://www.organissimo.org/forum/index.php...?showtopic=2997 "Memories"...

Just plain cheap: I love Don Martin, but this cover I do not get: Please turn down the magnification on the electron microscope...

That image just screams TENOR MADNESS don't it? It looks suspiciously like a painting that hung in my pediatrician's waiting room...

Please note: "Based on the novel NIGHT SONG by John A. Williams." I could have sworn that, like THE CONNECTION or THE COOL WORLD, this was a Shirley Clarke film.

Chuck -- I figured it had to something along those lines.

Yes, but why? All I recall is M. Cuscuna indicating that the session was "not for release", but that, for me, is not much of an explanation...

Don't forget this one... March 19, 1961 KD, Charles Davis (baritone sax), Kenny Drew, Grant Green, Wilbur Ware, possibly Philly Joe Jones Mason Dixon Line (tk. 9) Blues Lament (tk. 20) Cross 'D' Track (tk. 24) Blue Ching (tk. 26) Spadesville (tk. 27) 9 1/2 Street (tk. 31) All takes "rejected" acording to the 1988 edition of the Ruppli / Cuscuna BN DISCOGRAPHY. (Any new info in the revised edition, BTW?)

"Flamenco strikes back!! Return of Don!" "Hey! Mr. Referee Mario. I like your hair!" "People like my hair. Don't mess my hair!" "Carmen, my love... I dance so sweet for you!" "I'm a beautiful fighter. I have such a style!"

Brad -- I hope you mean the Criss and Coles, not the Criss and the Venom. Though, I have to say, for what that band was, Venom is pretty darn intriguing... My thanks to ShawnD from the old BN BBS for opening my ears to them...

This fine late 80's Kuhn / Miroslav Vitous / Aldo Romano trio date, orignally recorded for the Owl label, is about the be re-issued here in the States on Sunnyside: OCEANS IN THE SKY I'm still most fond of his playing on the aforementioned BASRA and SING ME SOFTLY OF THE BLUES, the Stan Getz / Bob Brookmeyer FALL 1961, and Kenny Dorham's JAZZ CONTEMPORARY. What's really interesting is why almost none -- absolutely none -- of his 70's sessions for the ECM label have made it to CD, including the quite highly-thought-of collaborations with Shelia Jordan (PLAYGROUND, LAST YEAR'S WALTZ). What's the story there?

Al -- it was a toss-up between the Coles and:

First, thanks to Late for the nomination. Now, as to what I'm going to inflict on you all... Let's see... an album "deserving of wider recognition", IMHO... Johnny Coles - NEW MORNING (click here to buy) Not as "conservative" a choice as it appears. Trust me. Ciao, Joe

OH HELL YEAH!!!

Who knows? He may not have another VEEDON FLEECE in him, but that doesn;t mean he may not surprise us. I suspect BN will adopt much more of a Cassandra Wilson than a Norah Jones strategy as far as Van's promotion goes...

I've always really loved this album... http://www.cybermusicsurplus.com/online_ca..._tag=BSN3120083

FLYING OUT, McBee's 1982 INdia Navigation date with Olu Dara, Billy Hart and the "mini-string section" of John Blake (violin) and David Eyges (cello) is also definitely worth hearing. Not you average blowing date by any means. Also, dig what he does with The Leaders Trio (with Kirk Lightsey and Don Moye):

I said Henderson because I think a lot of tenor players nowadays, in looking for a model that is not the predominant one -- i.e., is NOT Coltrane -- have turned to Henderson. Javon Jackson, Mark Shim, Mark Turner, Seamus Blake, even a relatively elder statesmen like Joe Lovano all bear a marked Henderson influence (IMHO). There are others, of course. I think Wayne Shorter has also been more influential than is normally acknowledged, but, becuase his music is still growing and evolving, and he is no longer known primarily as a tenor saxophonist -- though that COULD change again -- he presents more challenges to the young musician who might fall under his spell. But, to take an extreme example, Ravi Coltrane to me sounds much more like Wayne than he does his father...

Love LEBOWSKI. Especially because I see it as being a big middle finger in the face of Quentin Tarrantino.

Not a cover per se, but... And apologies for the size, but...

Didn't Distel also (co-)compose the standard "The Good Life", the song made famous by Mr. Tony Bennett? If so, what's the story there?

With the current Cedar Walton trio (Peter Washington, Joe Farnsworth). An excellent "straight-ahead" date which finds Davis -- who has played with Steve Lacy, Kenny Dorham, Clifford Jordan's Big Band, Ray Charles, and countless others -- playing both tenor and baritone sax (). There's some sax playing of uncommon depth here; check it out!