Joe

Another fine Chicago stylist. I've heard MISTY NIGHT but not his other Argo dates, including the one with a young Malachi Favors. Definitely a "touch" player. Maybe Ahmad Jamal-like, but definitely had his own thing. I've liked the Eric Watson recordings I've heard: with -- respectively -- John Lindberg, Bennie Wallace and Steve Lacy. Definitely Waldron-inspired, but with his own thing, too. Among contemporary players, I find Simon Nabatov's music consistently intriguing. Sometimes too much technique, but, if you've not heard his version of the Herbie Nichols songbook... recommended.

Dick Katz and Anthony Davis also come to mind. The former for his versatility and taste; the latter for being a somewhat forgotten innovator. His early India Navigation recordings are among the more important piano dates of the late 70s / early 80s, IMHO.

Austin Crowe, who plays with distinction on Walt Dickerson's first Prestige recordings. It's hard to say what makes Crowe's playing stand out... there's a "bounce" to his phrasing, however, and he understands the harmonic implications of Dickerson's melodies as well or better than any pianist -- a pretty amazing list: Andrew Hill, Sun Ra, Walter Davis Jr., the aforementioned Albert Dailey -- with whom the vibist collaborated. Check out Crowe's work on "Why" from A SENSE OF DIRECTION. His comping gives Dickerson another rhythmic element to play with / off, and his solo is both abstract and kind of funky.

Is there a good account anywhere of Sonny's conversion to Rosicrucianism / his years as a Rosicrucian? In my own preliminary search for more information, I cam across this: http://davidvaldez.blogspot.com/2011/10/sonny-rollins-letter-to-coleman-hawkins.html "There have been many young men of high potential and demonstrated ability who have unfortunately not been 'MEN' in their personal and offstage practices and who soon found themselves devoid of the ability to create music."

Maybe I'm being cheesy, but this will always be among my favorite Rollins solos...

"He collaborated with Gil Evans" indeed. He didn't just work with Gil: Kikuchi was a vital contributor to several of those 70s orchestra recordings. Case in point (and electric piano warning for those so disinclined.):

Too young. Actually been listening to quite a few of his early, Japan-only recordings lately. There are the noticeable influences (Miles' groups, especially), but even then Kikuchi had his own thing, sensitive but not sappy (dry, almost). Another player the likes of whom we probably won't ever see again; or, if we do, for some time.

Every track was laid down in one take?? That doesn't seem very likely at all. I wonder where these take numbers came from? Seems pretty consistent with the Weinstock aesthetic to me... either that or the Prestige vaults were wiped of alternate takes long before Fantasy acquired their holdings. Amazing to think one session produced that many intense, brooding, "full-on" ballads.

That Bill Smith record on Contemporary has its esoteric pleasures as well. What do you think of this one? Not quite Tristano / Konitz / Marsh, but not a complete stranger to that aesthetic either.

And then to make a solo record (FEELS GOOD TO ME) featuring collaborations with Annette Peacock!

Ralph Peterson and his Fo'tet as well as Larry Schnieder have both recorded albums entitled ORNETTOLOGY. http://www.allmusic.com/album/ornettology-mw0001160914 http://www.discogs.com/Ralph-Peterson-Fotet-Ornettology/release/2338869 The Peterson isn't a repertoire / tribute LP per se... it only features one Ornette tune ("Congeniality")... but the playing by Peterson, Don Byron, Bryan Carrott and Melissa Slocum is definitely Ornette-inspired. Also, one of the earliest and still one the finest interpretations of an Ornette Coleman composition (from SMACK UP)...

Seconded!

Another loss. Sigh. DYNASTY is indeed superb. He also made some excellent recordings with a young Jean-Luc Ponty and the wonderful Daniel Humair.

Most happy day to you and yours!

Not BN, but Milestone: TETRAGON. Superb stuff. not as intense as INNER URGE, but certainly as saxophonistic, if that makes any sense. I just mean this is saxophone playing of rare sensitivity; this is a player who understands his instrument at a profound level. Lucky Thompson, though a very different tenor, is another musician of this caliber. And I do wish Henderson and Don Friedman might have had more recorded encounters.

So sad to hear this. A true gentleman, and a fine poet.

Damn, this has been a rough year. Nobody but nobody got a sound of the electric bass like Squire. Very melodic player, too. That Squire - Bruford rhythm section was both supple and powerful.

If only there were recordings extant of that Newport Rebels group: Ornette, Kenny Dorham, Mingus, and Max Roach, IIRC. At least, there are photos in the Mosaic COMPLETE MINGUS CANDID box suggesting this quartet played together at the 1960 Newport Rebel Festival. Ta-da!

I'm a fan of Ed Blackwell's two Enja dates with Carlos Ward, Graham Haynes and Mark Helis. WHAT IT IS and WHAT IT BE LIKE. Though, really, jump on the Dewey Redman / Blackwell RED & BLACK IN WILISAU before all else.

Somebody else can confirm, but I think BN was contractually prohibited from putting McCoy's name on the cover, because of the contracts he had with Inpulse at the time. I sure they would have, but couldn't - or one would sure think. That is my recollection as well. I thought Reid Miles indicated as much in an interview [?]

http://www.slate.com/blogs/the_slatest/2015/06/18/white_extremist_murders_killed_at_least_60_in_u_s_since_1995.html More than half of these incidents have occurred in the past 6 years.

Indeed.

1) OUR THING (great band, great compositions) 2) INNER URGE (quartet) 3) Tie: PAGE ONE (quite the debut) and Pete LaRoca's BASRA... this is cheating, of which I am fully aware (and of which I remain unrepentant). Some of Hnerderson's finest playing of this era is to be found on BASRA, and, as he is the lone horn, you might even give him more than sideman credit.

Very interesting! Thanks.