Guy Berger

I'm in line with the modal (haha) opinion here - prefer the tenor to soprano (for Trane, Wayne, and more generally), but not so lopsidedly that the existing recorded output seems out of whack to me. I'm glad we have the soprano recordings we do. I do think it's interesting that he abandoned the horn in the studio after "Living Space". (Which is one of my fave Trane-on-soprano tunes - and not a waltz!) Interesting to ponder whether, had he survived, he would have re-evaluated that decision. (Also, tangential, but Wayne's soprano solo on McCoy Tyner's "Message from the Nile" is my fave soprano solo by anyone.)

So yeah, good track. But if we’re talking 3 Faces of Chico, the rest isn’t at that level.

So I love hearing Dolphy on this, but the music itself is... eh. Not nearly as good as either the original quartet w/Collette or the later ensemble w/Lloyd.

Steve has a new album with the Five Elements coming out on Pi in August - Live at the Village Vanguard Volume 1 (Embedded Sets). I'm pretty excited!

QQ regarding bandcamp - do musicians make more money off purchases here than they do off, say, Amazon?

Finally listened to SEEKING - so great. Next up - FLIGHT FOR FOUR and SELF DETERMINATION MUSIC.

that would be amazing

“Common Mama” and “There Is a Road (God’s River)” are among the best things KJ recorded in his entire career bar none but... I think overall TREASURE ISLAND is a more focused sequel that covers the same based.

Also, as this book describes in detail, improvisation on the quintet's studio recordings were almost universally form-based. So the claim that the quintet was discarding tunes on albums like MILES SMILES, SORCERER, and NEFERTITI isn't a matter of taste - it's *factually incorrect*.

I like recordings around 45 min, and beyond 60 min it's pushing it. BUT... It's an unfair presumption that artists releasing a collection of music (album, EP, playlist, whatever) expect listeners to absorb it all in one sitting.

To each his own, obv, but that track is one of my favorite by DG.

It's actually the opposite - Beethoven-era performance speeds were generally faster than 20th performances, so would have fit easily into a 79 min (or whatever) disc.

I've been revisiting this recently. A great set that has aged very well. "Oleo" is magnificent; I am hit-and-miss on Mehldau, but Motian pushes him deliciously on that track. Wasn't this one of Paul's final recordings? So sad that he and Charlie are gone.

I thought AB's Arista albums were already available on Spotify? I've listened to Fall 1974 on there.

I was thinking of soloists, actually - folks like Pharoah Sanders who were uber-radical in the mid-60s but were already mellowing out by the late 60s and are now comfortably ensconced as straight-ahead players. I realize that might not be a great analogy.

Love this thread. Thank you.

I wish I'd discovered CoC in college, when I was really into prog rock. by the time I first heard it my prog rock days were in the rear view mirror and the music didn't really resonate. but I imagine I might re-evaluate in the coming decades. YELLOW FIELDS and SILENT FEET are brilliant, however, and LITTLE MOVEMENT also has its charms.

Yes, it is a relic of technology that we think of 40-45 or 75 min blocks of music as the norm/benchmark. No particular reason to imagine they'll persist indefinitely during the streaming era. Also, not clear we'll keep calling collections of music "albums", maybe they'll just be "playlists".

Wouldn't you say this was pretty common among a lot of 60s radicals (musical and otherwise) - they mellowed out a lot in subsequent decades. Or are you arguing that Carla's mellowing happened faster & more rapidly than her peers?

I’m sure that among older listeners, recognition/enjoyment of GAS standards is a selling point. Rod Stewart is a testament to that. So if jazz musicians’ aim is to cater to that audience, sure, why not. That said, it might just be they aren’t that interested in this audience? My sense is people like Spotify/pandora-generated playlists? That doesn’t require much playlist creation.

Even these artists, while not quite as dessicated as George Gershwin or Cole Porter, are 15 years or more in the past...

Anybody else really into S2 of WestWorld? It has the potential to be meaningfully better than the 1st.

Why do we think "standards" - songs written 60 years ago, or more - would help people relate to what is being played? That said, on average it is probably a good idea for jazz musicians to engage with contemporary popular music. Less Gershwin, more Beyonce.

my 15 year old RVG of GENIUS OF MODERN MUSIC is way better at Monk than this 15 year old human supposed imitator

http://henrythreadgill.bandcamp.com/album/double-up-plays-double-up-plus so now Pi is releasing 2 albums by Henry in 2018!!! Happy days