Joe

The Higgins and Hawes are great additions to this list. I'm also very fond of THE SEANCE, which comes from the same gig as I'M ALL SMILES, IIRC. Still, and as mentioned in post #1, this is my favorite Hawes trio record of all.

Another one: Joe Henderson's "The Kicker" (as evidenced most recently by a Criss Cross release under pianist Danny Grisset's leadership, THE IN-BETWEEN).

Not sure of many of these are recent enough to qualify, but they immediately come to mind: "Little B's Poem" (Bobby Hutcherson) "Ida Lupino" (Carla Bley) "Escapade" (Kenny Dorham) "Birdland" (Joe Zawinul) "Sail Away" (Tom Harrell)

Thanks to Miles, but not exclusively due to his influence, "Time After Time" (Lauper / Hyman) seems to have made its way into the lower echelons of the GAS.

I think what I most appreciate about Rowles are the degrees of "tastefulness" in his playing. I.e., he has a strong intuitive sense of when not to be so "tasteful."

Quite a band!

I would also single out occasional (last I checked) O-board member Frank Kimbrough for more recognition. His latest, on Palmetto, show more of an Andrew Hill influence that previous records I recall under his own name. Either way, a lyrical player whose work possesses an individual tensile quality. NOUMENA (Soul Note) is another favorite.

Re: Richard Grossman. The Hat discs are wonderful, but this remains my favorite item in his sadly rather meager discography. (Nine Winds)

Thank God there are still some giants walking this earth.

Additional discussion of the Blue Coronet, Bed-Stuy "back in the day," audiences, Jackie's experiences there, etc. in A. B. Spellman's 4 JAZZ LIVES / 4 LIVES IN THE BEBOP BUSINESS. Specifically, in the Cecil Taylor -- another, and rather different survivor -- chapter of said book. https://goo.gl/dV55rn

Yea, I've little doubt that Jackie had to live with his own form of PTSD (for lack of a better descriptor) because of certain choices he made... but also the choices imposed on him by American culture. That ON MARS film reveals as much.

Does it ever sadden me to read that. Jackie was as survivor, and deserved respect based on that fact alone.

Begone, dull care. Maybe because he sounds less like himself there, I do have to say I find much of his "electric piano" record quite pleasant: NIGHT CHILD on Pablo.

On a more mainstream tip: Jerry Dodgion. Beautiful tone, very versatile player.

Kendra Smith's solo work is not easy to find but worth tracking down. A unique voice in a "movement" that could err towards the derivative (e.g., The Three O'Clock, whose music has never really connected with me). The original Deep Ellum scene of the mid-80s here in Dallas was unmistakably indebted to the Paisley Underground. Bands like Shallow Reign, Three On A Hill, The Buck Pets and Lithium Xmas all combined punk and psychedelia with some success.

Thankee, thankee all!

Thin White Rope came a bit later out of Davis and aren't quite as garage-y or hazy as those first gen bands, but their entire discography will probably be of interest to you. This is also a nice keepsake from that era. http://rarebird9.net/rainyday.html PS: Karl Precoda isn't really active in music anymore, but some of his post-DS work can be found under the moniker Last Days of May.

Excellent news! This is one of the more unusual items in Carter's discography. Now, if we could just those tow Moers dates restored to wider circulation...

Exactly. They didn't nickname his Led Wallet for nothing.

Braxton, of course. I recall something similar now. And Roger has always had big, big ears. Will Vinson's name I know, but his playing, I confess, I don't. Thanks for the tip. And maybe -- maybe -- I hear just a touch of "the Desmond scoop" in Eric Kloss' alto playing. Edit: and, then again, when I think of Desmond's articulation and his propensity to stay in his horn's upper registers, I can't help but wonder if he wasn't paying very close attention to the clarinet players in his formative years.

Not to derail this discussion, but to perhaps expand its scope... I'm trying to think of any players who, in turn, evince a Paul Desmond INFLUENCE, and I can't really think of any. Then again, perhaps said players occupy a different position with respect to what we think of as the main stream of jazz. E.g., just hypothetically, if we were to classify Chuck Greenberg as having been influenced in some way by Desmond, would that "count" in terms of the kind of saxophone lineages under review here?

Vinny Golia.