Guy Berger

Thanks for sharing! Interesting interview.

I generally enjoy the Cherry BNs more than the Ornette BNs too. Glad to have both.

Would be nicer if they released a nice version of the Paul Bley Hillcrest recordings

Listened to this last night. It's enjoyable, and I love Wayne's playing, so I'll probably pick it up at some point, but not in a rush to do so.

I heard it. It's enjoyable! Whether beyond "enjoyable" comes down to how much you like this kind of thing. (I like Turner and have seesawed on whether to spring for a copy.)

Sad for his family and friends' loss. I always liked the passion and enthusiasm of his writing, but had mixed feelings about the substance/content.

I remember listening to My sense is that Turner has "more cred" among jazz critics than the other two, and that Potter might be in the middle between Turner and Brecker. (For that matter, critics seem to like Lovano, but are mostly silent about Liebman.)

How do people think about Brecker's role in jazz music vs, say, Chris Potter or Mark Turner? All 3 seem to be "musician's musicians" in a way.

Great player. RIP!!

IMHO the ECM work is very good. I especially like the two Torns (Prezens, Sun of Goldfinger), the first Formanek (Rub & Spare Change), and the 2nd-4th Snakeoils. The Snakeoils on Intakt are great too.

We’ve had a few other threads about Tim’s releases and ensembles but they are scattershot, so I started this one and will link to the others. Recently I listened to Open, Coma for the first time - I believe this is the only large ensemble recording Tim has made. It’s really good. Lots of great Marc Ducret on this one. Previous Berne Thread 1 Previous Berne Thread 2 Previous Berne Thread 3

Thanks for the suggestion. I'll have to check it out - but my guess is no. This was some sort of playlist which was playing over and over, and had "legit" recordings (like Burrell's "Chitlins Con Carne").... isn't the 67 European tour bootlegs only?

Hey all, I was in a public location and there was jazz playing on in the background. A version of “Ruby, My Dear” came on that featured a Johnny Hodges like alto. Any ideas what this might be? There was also a trumpet.

Love this album. It’s probably my favorite pre-1955 Getz.

Ornette’s music is full of walking basslines! He had Charlie Haden, one of the GOAT “walkers”, in his band!

That’s the upgrade that Paul Motian and Gary Peacock got at the pianist rental agency!

You could use Evans for good or for evil. Tyner was mostly just good

Hmmm. I like McCoy Tyner waaaaay more than I like Bill Evans, but Evans’s influence was huge. Three super-significant acolytes (Hancock, Corea, Jarrett) and impact on everyone from Oscar Peterson to ECM

Yeah. My gut is you could have (at least to some extent) made Sahara sound like Asante or vice versa. The underlying music just isn’t that different

I agree that Tyner’s early Milestones can sometimes be excessively monochrome. (They have other strengths.) Also agreed that Sama Layuca is a nice exception. But I wonder if this could have been averted somewhat with different recording choices.

How much of this reflects differences in how the music was recorded, vs differences in the underlying music? The late BNs to some degree benefit from benign neglect whereas the Milestones were recorded with savvy marketing in mind?

How much of this reflects differences in how the music was recorded, vs differences in the underlying music? The late BNs to some degree benefit from benign neglect whereas the Milestones were recorded with savvy marketing in mind?

Agreed on Another Place being really good. Larry, his album w/Rudresh Mahanthappa (APEX, on Pi Recordings) is excellent too.

I don’t have an encyclopedic collection, but I don’t hear the BNs as particularly conservative. They are generally more adventurous than the Atlantics (especially the early Atlantics) and about comparable to the 1971 Science Fiction sessions. Separate point: it’s be an interesting essay for someone to write how for listeners/musicians of a certain age, the BNs and Columbias (and maybe Impulses?) were the main entry point into Ornette’s music rather than the Atlantics. Another fun essay would be how when, in the early 80s you had the “neoconservative” turn in institutional jazz (Wynton/Crouch/JALC), it embraced early Ornette (through the first 1-2 Atlantic albums) and basically ignored everything that came after

This thread is a good reminder for me to listen to the Golden Circle recordings again. Sooooo good.