Guy Berger

It doesn't seem like you are listening carefully. Guy

FWIW, I don't think the Vanguard "Impressions" was released until '63 (on the album of the same name), and that was the first version of the tune to appear on record. So I imagine the name changed sometime between the Vanguard engagement and the release of the album. Guy

The comparison re: KoB is right-on, though on the compositional complexity spectrum it's coming from a totally different place (and yet mood-wise, as you say, ends up in a place that's not so far away). Alright, time for my comments. If you are just coming into what will probably be a very long thread and want to sample the "greatest hits", I recommend starting with JSngry's post on page 1, Michael Fitzgerald's on page 3, and Epistrophy's on page 4. For me those were the most thought-provoking. A few random thoughts: 1) Despiting crediting their version of "Hoedown" to Aaron Copland, ELP's version of that tune also quoted the first theme from Oliver Nelson's. A pretty hip thing to stick into a millions-selling rock album. 2) In Ashley Kahn's A Love Supreme book, Kahn writes some interesting stuff about Creed Taylor's role in making this LP. Nothing humongous, but I think he did pick the title (somebody correct me if I'm wrong), which is part of the album's mystique. This was one of the 1st four albums on the fledgling Impulse! label. 3) Any thoughts on the relative merits of this album vs. Straight Ahead (on Prestige)? I've heard a few people suggest that the Prestige record is actually the better one. Guy

Woah -- just started reading this thread, so I don't know whether anybody else choked at reading this completely unmerited diss at "Hoe Down". I completely disagree! Guy

Assuming that yourmusic (and BMG) are part of a market segmentation strategy, what you just said makes sense. Guy

I think Kalo's suggestion of smaller ensembles is right on the money -- in chamber ensembles or solo performances, there's less of the "bombast" that MD wanted to avoid. Guy

It's a great book! Szwed did his homework and does a very good job of explaining Sun Ra the person, which is no easy thing given the person in question. My favorite part is when Sun Ra discusses Star Wars: "It's very accurate!" Guy

Hmmm, good recommendation, though it applies to sonatas 5-10 (especially #9 "Black Mass") and less so to the first 4. Guy

Works by Bartok (String quartets might be up your alley) and Stravinsky (Rite of Spring, other major ballets) are the most obvious recommendations. You might also like Beethoven and Haydn's minor key works. Guy

Somebody recently seeded a Keith Jarrett trio show from July 1999 (Copenhagen) with the tune "Zardees '58" (yeah, I know that's not the same spelling as the 50s LA jazz club). One individual wrote: Another individual noted: Anybody familiar with this tune, this recording, or any other recordings of this tune? Guy

That's the one that made it onto the official release. Guy

Which one, Lon? There's a 7 minute incomplete version that ends the 4/2/65 broadcast (this is the broadcast with "Creation" & "I Want to Talk About You") and the 13 minute incomplete version that ends the 3/26/65 broadcast (following "One Up, One Down"). Also, to toss more fuel onto the OUOD fire, when I started the "greatest Coltrane solos" thread, I quoted someone else saying:

BUT... once the prize gets big enough, the expected value of a Powerball ticket might actually become positive. Guy

This thread made me dig out some of the Quartet's gigs from the summer of 65. WHITE HOT. Guy

I forgot what it looked like! Guy

If you want something similar to the Half Note recordings, I'd recommend Live in Seattle before Live in Japan due to the rhythm section and general level fo intensity. (Obviously the live version of A Love Supreme would be even more similar, but I assume you already own that.) If you do get Live in Japan, you might want to get the extended dance mix that J Larsen just mentioned... (I agree with Mr. Larsen about Interstellar Space!) Guy

Somebody will have to check, but I think the OUOD solo (which runs for 26-28 minutes, depending on whether you include the brief melody statements at the beginning and the end) is longer than any of the solos on Live in Japan, even if you include the duets with Pharoah as part of Trane's solo. It might even be longer than any other Coltrane solo on record, though I am not sure about that. Guy

yup

Out of the 5 "extended" standard performances on the set this is actually my least favorite! The low point of the box for me is "Desert Sun". Waaaaaaaay too long for something that repetitive. Guy

I agree up to a point -- despite the cliche of referring to Trane's late playing as "energy music" or "spiritual" (with potential connotations of irrationality or arationality), the guy was an extremely methodical, cerebral, structural soloist. So if you come in during the middle, or leave before the end, it might not make as much sense. (Not unlike a movie.) Guy

That's my experience as well. However, Trane is one of the few guys able to make paying close attention worthwhile. I agree with Lon that it's too bad David Wild didn't write the liner notes. His liner notes on other Trane albums are consistently illuminating. I don't know David that well, but I interacted with him a few times on the Miles list and he seems like a really nice guy. Guy

Completely agree. Spinning Sunship right now. Somehow it seems different after listening to "one up one down." ← I think in '65 Trane was trying to catch up his studio recordings with the stuff he'd been playing live. At least, that's one way of seeing it. The gap between the Half Note stuff and what he was playing in Europe in the fall of '63 is smaller than the gap between Crescent and Transition. I'm listening to "Song of Praise" -- this is one of the best things on the Half Note tapes. Guy

link

Hope those who fasted on Yom Kippur survived, and may we all be written in the Book of Life for a good year. Next year in Jerusalem. - Guy

This will be a nice excuse to give El Fuge a spin. I once heard the four-hands-piano version of it and found it far less engaging than the real deal. (OTOH, I enjoyed a similar arrangement of The Rite of Spring tremendously.) Guy