Joe

It doesn't get more hip than this:

Thanks so much for sharing this article. Some new info here for me.

Very interested!

An interesting experiment that might veer to close to "classical composition" for some, but there are some fine improvisers (and improvisations) to be heard on this record.

The string section on this record is small but mighty.

Mentioned previously but worth mentioning again: (WAY WAY OUT)

To the best of my knowledge, the CD issue (which I have) corrects the skip.

Also interesting to note: GM III's SOME OTHER STUFF was recorded in July of 1964, 3 months after NIGHT DREAMER and a month before JUJU.

Yeah. Just spun this one again. It's surprisingly "cool" in some respects. I'm with you that Trane is often over-stated as an influence on Shorter's work. But I guess he kind of invited those comparisons with a record like JUJU... Am I crazy or did Stan Getz at one time call Wayne one of his favorite tenor players? There are certainly times when I can feel a Getz influence swooping through Wayne's phrasing and coloring.

To the surprise of exactly no one, this article does not delve into Wayne's most adventurous BN work: THE ALL-SEEING EYE (a record that I still haven't warmed up to entirely), THE SOOTHSAYER (as an arranger) and ETC. Then again/to be fair, anything beyond 1964 is not the article's premise. But while we are on the subject of Wayne, however... ETC. in particular has always felt to me like the record where Wayne most fully "processes" Coltrane's influence and sets himself up for something different. But, to Jim's point: absolutely, some of Wayne's intense, emotionally gripping playing, period, is on SUPERNOVA. Case in point: God bless Wayne Shorter, all of him.

Charles Brackeen!

No endorsement of the author's positions intended here*, just posting this for anyone interested in reading "critical opinions" about this release (and Trane in general). https://www.weeklystandard.com/dominic-green/john-coltrane-and-the-end-of-jazz * "The story goes that Coltrane was using LSD after 1965. If so, then the overreach and incoherence of his final music, and his mingling with admiring but inferior talents like Alice Coltrane, the Yoko Ono of jazz, suggest that Coltrane might be the sixties’ first and foremost acid casualty, flailing out rather than flaming out, the peak of his late style already behind him." WTF/GTFO

I try to keep it diverse! The Tom Johnson is a new discovery.

Thanks Mike. Was not familiar with that Ray Russell recording. Nice!