Joe

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!

Another question: "Footprints" seemed to very quickly become a standard part of other bands' books. But, outside of Wayne and Miles, who was the first musician to record a version of the tune? This one by Herbie Mann is pretty early, but how early, I wonder...

I wish there were recorded evidence of their "playing outside" together (as Kuhn claims they were wont to do). Based on Pete LaRoca's BASRA, I can hear how Kuhn might have functioned in Coltrane's band. Then again, 1960 Trane is not 1964 Trane.

But did Trane like Steve Kuhn?

This is a great record. As is this one.

Strange line-up; strangely likable results.

Saw Maria perform years ago at Austin's No Idea Festival. Cool to see what's she up to these days.

Ray Warleigh, REVERIE.

"Cecil Taylor (1929-2018), Frank O’Hara, Amiri Baraka" -- https://newyorkschoolpoets.wordpress.com/2018/05/17/cecil-taylor-1929-2018-frank-ohara-amiri-baraka/

Flow is Everything: Composer Henry Threadgill Dishes the 'Dirt' and More on The Checkout “Like a film, like a play, even a so-called static work of art, it has to move,” Threadgill says. “What advances the action? Everything has to advance to the next action. Every act has something in it that advances to the next moment.” http://wbgo.org/post/flow-everything-composer-henry-threadgill-dishes-dirt-and-more-checkout#stream/0

Surprising to me that we've not yet mentioned Joel Forrester's work, with and without The Microscopic Septet. Some of the reference points are pre-bop, but if you're looking for something equal parts Raymond Scott and Thelonious Monk...

Re: Taylor's poetry, check out Fred Moten's work... http://www.ubu.com/papers/moten.html Also: http://www.nationalbook.org/nba2014_p_moten.html

Patti Bown can also be heard on this somewhat obscure James Moody date (from which I pulled a track for a BFT some time back): https://www.discogs.com/James-Moody-Running-The-Gamut-/release/6727055 (See also: https://www.freshsoundrecords.com/james-moody-thad-jones-albums/5396-the-legendary-1963-64-sessions-2-lps-on-1-cd.html) Not to mention...