Joe

There’s a single, or singular, maybe, reason I love this record – Johnny Coles’ TONE. Yes, “warm” as the title of his first session as a leader (Epic, 1961) described it in near space-age bachelor pad terms, but with a cool center. Breathy, slightly hoarse. Maybe its better to say his timbre is singed at the edges. Whatever – the Coles’ sound is a mixture of oppositional elements, the difficulty of adequate description of which also calls to mind the late David Rosenthal’s description of Art Farmer’s sound – “tart”. Sour, but... sour cream. Now, usually, I don;t dig flugelhorn all that much. Its a little too roly-poly for my taste, and its mechanics can make even the most fleet player sound logy. But listen to how Coles exploits the fullness of the instrument’s qualities on this record. “Johnny Coles... in PANAVISION!” Couple this tone with Coles super-hip articulation, and you have a rare brass player who somehow bridges the gap (which may anyway exist only in my mind) that separates Rex Stewart from Chet Baker. Maybe this is why Gil Evans showcased Coles in the 60’s whenever the arranger wasn’t re-negotiating with Miles and Teo Macero. I almost don’t have even to listen to Coles’ solos on this record. I could just listen to him play the unusually lyrical theme to saxophonist Charles Davis’ “Super 80”, hit the stop button, and be happy. But my curiosity invariably gets the best of me, and I let the track play. Listen to how involved he gets in the harmonies during his solo. In some ways, the solo on “Super 80” is a jazz improvisation that spins out so many arabesques and penetrates so deep that it is nearly “out”. And speaking of “out” – isn’t the title track something else? A modal, Spanish-tinged construct that really keeps your interest and doesn’t just see-saw back and forth from major to minor. This is the track, I feel, on which Coles’ esteemed accompanists really out-do themselves, from Billy Hart’s quasi-AEC opening gong to the oft-kilter, killer groove that the Parlan / Johnson / Hart trio sets up. It seems to me, in listening to this disc yet again, that, much as I feel that Coles, and not Miles, was the trumpet player born to bring life to Gil Evans’ scores, that the association with Gil may have hurt Coles’ career in the long run. Not only did it force him somewhat into Miles’ shadow, make him Miles’s understudy for many fans, but – oh, irony – it deflected attention away from his considerable abilities as a soloist onto his talents as a musical colorist. (I know some have complained that Coles is habitually out of tune. I can’t tell.) And there’s no question that Coles could shade like few other players could. Perhaps more than his other few leader dates, really shows off Coles could do. that the opportunity came so late in his career seems both a shame and a blessing.

Some Billy Higgins you may otherwise miss... "Blend"

Leave us not forget his fine work with Horace Silver...

And check out the track "Tech Ritter and the Megabytes" on this brand new release... So hip it hurts! PI RECORDINGS

This one? Very early Blue on BN: And some prime early 70's Blue:

I can recommend the sides collected on this CD: Includes a version of "Our Miss Brooks", which BN listeners should remember from STEPPIN' OUT...

Yes, I listen to both "jazz" and "blues", though I must admit the so-called "folk blues" (acoustic) often speaks to me more than "electric" or "post-war" blues. As to what Jim is saying, I think this comment from saxophonist Tim Berne is somewhat along those same lines... http://bagatellen.com/berne.html

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!!!