Joe

Kickstarter is a good idea for sure. Oh, and, for the band's book, "The Way I Feel".

Rare, rare, rare, but Zoller's HORIZON BEYOND is worth tracking down (especially for fans of METAMORPHOSIS). http://www.discogs.com/Attila-Zoller-Quartet-The-Horizon-Beyond/release/2206202 Agreed re: Friedman and Konitz. I'm particularly find on their interplay on this one: THINGIN' (Hat)

Interest here. Jim Cooper's playing merits more exposure, for sure, as do Patton's tunes.

WOW! Thanks! Not familiar with that one... looks excellent! Indeed. Joe Chambers, Richard Davis and Attila Zoller complete the quartet. Any fans of the HAAG BNs should know this recording.

Been listening again, and quite a bit, to Friedman's rather remarkable (IMO) 60s recordings: all the Riversides through the lone Prestige date (METAMORPHOSIS) and the collaborations with Giuffre and A. Zoller. Quite a journey; quite an arc (if the LPs made a movie). It seems to me that Friedman embraced "freedom" like no other pianist of his time. I wish I had the technical musical know-how (and vocabulary) to describe what I mean. But what I *think* is that Friedman is ultimately really Evans-like (the pianist to whom he is most frequently compared... though isn't that true of most Caucasian pianists who show even the slightest lyrical tendency?) by virtue of his grounding in Tristano, and that, as the decade progresses, there's more and more Coltrane in his approach -- I keep coming back to his rendition of "I Hear a Rhapsody", from CIRCLE WALTZ -- though in a Larry Young rather than McCoy Tyner kind of way. But there's much else there to hear as well. And he's still playing at a high, high level. Witness this recent recording, a reunion of the trio with Chuck Israels and Joe Hunt that recorded his DAY IN THE CITY suite nearly 50 years previous (!) http://www.cdbaby.co...donfriedmantrio If you don't know his work, more info can be found here: http://www.donfriedman.net/ And, if you do, please share your thoughts, reflections, stories, etc.

Reported earlier today. A strong (to say the least) and important poet... perhaps most known to listeners as the former wife of Ornette Coleman (cf. "Jayne", SOMETHING ELSE!!!) and mother of Denardo. A voice which will be missed. http://www.poetryfoundation.org/harriet/2012/12/rip-jane-cortez/

Congrats!

Always been a fan of this one...

More greatness from Ed and Dewey (in a trio with Cameron Brown)... The Waldron collaborations are also fine, as mentioned... but it bear remembering that this partnership goes all the way back to the Dolphy / Little band Five Spot recordings of 1961. The recently issued duets with Wadada Leo Smith are excellent, too, and make for an fascinating comparison with the many Cherry collaborations. Finally, a word for some of the earliest Blackwell on record, from his days as one of NO's pioneering modernists... This same group (I believe) also recorded a "reunion" date for Black Saint in the late 80s, FROM BAD TO BADDER.

Another vote for the Enja dates (WHAT IT IS / WHAT IT BE LIKE). This, too, is essential, IMO.

Franco D'Andrea, TRADITIONS AND CLUSTERS

The happiest of happies to one of my most favoritist people (of those I actually know, period).

Glad I got to see him perform (once). May his spirit be at rest.

Beautiful!

The volumes that make up John Carter's ROOTS AND FOLKLORE series...

Marion Brown, AFTERNOON OF A GEORGIA FAUN Muhal Richard Abrams, YOUNG AT HEART / WISE IN TIME

Where might one hear said Sutherland versions? Also, another discographical quirk associated with this Boyd session: "Avars" was also recorded by Blue Mitchell, one his Riverside quartet date BLUE'S MOODS... but roughly a year before EASE IT was recorded and released.

Ah yes... I'd forgotten about the "Pavanne" connection...

To my ears, absolutely. Anyone know what the deal here re: actual authorship is / was? The Boyd date is listed as having been taped in March of 1961; Coltrane's Vanguard performances are from November of that same year... but was Trane playing "Impressions" under that title prior to the Vanguard engagement?

Cheating a bit, as I believe this is a Tom Hannan design (just for Bethlehem, not Prestige)

Damn. Of course, I have a conflict and cannot check this out.

Yes, perhaps I should have written: "Garrison's entire career, with Trane and otherwise, seems to be characterized by this specific kind of bass - drums symbiosis." Isn't Paul Motian the drummer on those Scott -- and Konitz / Marsh Half Note '59 -- performances?

IIRC, Garrison is in the bass chair on all of Philly Joe Jones' Riverside leader dates. I guess he liked working with very active drummers...