Guy Berger

This is an outstanding album. I love hearing Lloyd with a hard bop rhythm section. He tears it up on “Blues for Bill”.

Miles Davis is not really comparable here. I don’t think anybody would contest he was (1) a significant contributor as an instrumentalist (2) the major creative force shaping the music of his bands. He wasn’t just the employer, he was the *architect*. Replace him with any of his peers during that period and his bands would have sounded different and, on average, worse. Lloyd was never (2), but at his best he was definitely (1). Jim’s point is that as the quartet w/Jarrett and DeJohnette progressed, he wasn’t really 1 anymore either. Really obvious in 1968, somewhat apparent in 1967. The example of Mann is interesting here because I think he was a weaker and less interesting instrumentalist than Lloyd, but maybe had more of a creative, shaping vision.

I picked up this set and listened to the 1st disc. IMHO this won’t change any minds, it’s not the best Lloyd but also quite enjoyable if you like his other 1967 recordings.

Muhal’s big band recordings are my favorite of his output, Mama and Daddy is the first entry in that amazing run

Same. I’d put the session w/Rollins and Silver from June 1954 in 3rd place, followed by the two “odd” 1955 albums (quintet/sextet) and Musings of Miles, followed by the 1951 Dig session

Link This looks interesting - a septet (saxophone, guitar, three bassists, two drummers) playing one Motian tune, and several tunes inspired by him.

There are a bunch of other recordings in that period where they don’t play it. (Though the recorded evidence is patchy and biased - maybe they played it more often than these recordings indicate.) JSngry - you’re totally right that the very slow intro thing goes back at least to 1964 (and continued through 1970).

We don’t have recordings of them playing many ballads - to my knowledge only “I Fall in Love too Easily” and “Round Midnight” (and “Sanctuary”, I suppose). Both of these opened as Chick-Miles duets, at a slow rubato. Something the 1967 quintet did too. Though “Round Midnight” shifted to a fast tempo when Wayne’s solo came. What makes “Flamenco Sketches” unique is the approach to improvisation on the original recording - each of the soloists cycles through a series of scales. Miles repeated that technique on the studio recording of “Spanish Key” (though not, IIRC, on “Neo”/“Teo”). That kind of very “scripted” approach to improvisation was not something that Miles did in concert.

Not that unique. Of the 1959-68 studio tunes that Miles ended up performing live, almost all were either ballad standards or tunes that had fairly simple or open structures for improvisation. That rules out “Blue in Green” and “Flamenco Sketches”. “Freddie Freeloader” is a straightforward blues and “No Blues” fulfilled that role in concert.

RIP. She had an impressive legacy - I wish more great artists had such dedicated, relentless advocates.

RIP. I feel very fortunate to have seen him live twice - once at Dizzys and once at SFJazz - two of the best jazz concerts that I’ve attended. It’s ironic that he got labeled as having an ugly sound. I’d say it’s one of the most beautiful I’ve ever heard. As far as the mid 60s stuff I prefer his work with Don Cherry to that with John Coltrane. My fave of the Impulse albums is Deaf Dumb Blind - especially that cosmic interpretation of “Let Us Go into the House of the Lord”. Of his later sideman appearances, gotta call out Franklin Kiermyer’s Solomon’s Daughter.

Had this lying around for a long time, this weekend was the first time I actually listened to it. (Only the first disc thus far.) Very good music. Out of the late 60s / early 70s Coltrane acolytes, Liebman has always been one of the most engaging to my ears - less academic, more open minded than many of his peers. (Despite his negative comments about some avant-garde musicians…) This kind of aggressive rock-infused jazz is something I really like about that period.

I’ve made it through most of the box set at this point - am about halfway through disc 6. Spectacularly good music. I wasn’t that into the chamber music (solo piano, string quartet) and the vocal work was tough going, but otherwise I think this is one of my best acquisitions of the past 1-2 years.

What is this - a YouTube video or a new release?

Is this surprising? Musicians who didn’t like it would be far less likely to play with him

Disagree… everything I’ve heard by this 1957 band is at least very good and often excellent. Better than either the 1965 or early 1970s bands.

Yea! Love this one

imho the Detroit set is stronger than the Ronnie Scott set, largely due to the presence of Pullen and Stubblefield who add some needed heft to the band. The Ronnie Scott ensemble feels a little too light for my tastes. Is this a good thing or a bad thing to you

Really sad about Joey D but very overjoyed to have Soulstation back!!!

Much less expensive on bandcamp!

Don’t love everything he was involved with (indeed, I ignore a lot of it) but he left a big mark on the world of music and jazz in particular

So sad…. She was only 39

Nicely stated.

I'm trying to think of a less extreme way of saying this but: jazz listeners and musicians are much more comfortable butchering Monk's music than Mingus's music.

I’d rewrite as “unfortunate that they couldn’t stop harassing women”