Guy Berger

He did 8 albums. However, Fort Yawuh (live at the Village Vanguard) is expanded to 2 discs. Essential music.

"Droid" is a marketing term used by Verizon for a line of their Android phones. If it's not on Verizon, it's not a "Droid". "Droid" and "android" are used interchangeably in common parlance to refer to phones running the Android OS.

This discussion made me dig out Third. Great album. I think it's an "imperfect" masterpiece; not a criticism, I would say much the same about many of Miles's electric explorations. And yeah, the Nicholson book is definitely worth reading because his "eclectic origins of jazz rock" seems right to me (though in retrospect he probably should have spent more time on the cross-pollination between R&B and jazz during the post-WW2 era. (When was IaSW released in the UK?)

First off, Ed, I hope your healing process is going well. Second, I have been road cycling for about 5 years now. My first bike (aside from ones I had as a kid/teen) was a Specialized hybrid I picked up when I started doing triathlons. I wasn't sure at the time that I really wanted to be a road cyclist and wanted something versatile. After a few races I realized I liked road biking and got a Trek (the 1.2, which I think is the most basic model). I even got my fiancee into it somewhat, she has a low-end Specialized road bike and joins me on occasion. I'm not a fanatic cyclist (never done a century - not sure I am motivated enough to do it), but I do like to do one 20-mile ride every week during the warmer months. That's one thing I miss about living in the southeast US - I used to be able to bike almost year-round (or at least, from February through November). Here in NYC it's really an April-October proposition. I usually do loops around Central Park. Unfortunately we recently moved to the southern half of Manhattan which makes it a pain to get to the Park - it's actually pretty terrifying. My biggest weakness as a cyclist is that I'm usually not that motivated to push myself hard, I do the CP loops at an overly-leisurely pace unless I'm with one of my more hard-core cycling buddies.

I don't think it's an amazing version (or a bad version), but I love Lee Morgan's "Yesterday" (on DELIGHTFULEE) just because we get to hear Wayne on it - was this the only time he soloed on a Beatles tune? I think generally speaking, post-1980 jazz interpretations of Beatles material are better; 1960s jazz musicians didn't always have a great rapport with this music, and their interpretations sometimes came off as commercial pandering.

I have the Live Trane box so I have this music in that format, and it's great!

1stpress, are you more interested in music that explores the adventurous end of freebop (much like the mid 60s Coltrane quartet) or in music that's directly/obviously influenced by Coltrane's mid-60s group? These overlap somewhat but I think they could lead you in different directions.

...vs music sold through amazon or other outlets? I assume the answer is yes, but just wanted to verify.

The phenomenon this article describes rings true to me. When I lived in a largeish city in NC, the city orchestra's repertory concerts had a very elderly audience. I think it will get into progressively deeper trouble as they pass away. That said, I didn't really understand the point of the article beyond that. The southern orchestra I mentioned was extremely conservative in its repertoire - playing something like Bruckner or early Sibelius was as adventurous as they got. I'm not saying this isn't worth preserving, but let's also not romanticize it too much. So what if they do various pops concerts or try to reach out to a wider audience. For what it's worth, audiences at NYC classical concerts tend to be younger than in NC (though still older than jazz audiences) but also project WEALTH. So it is a pretty narrow cross-section of society.

Yeah, well, if Joerg's a good promoter/supporter (and not just a smart business person), he should try and place such stories, maybe, rather than hitting the face of the youngster (and damn, I said it in 2001 and I still say it, she's a darn fine drummer) that does get a story. I found Tsahar's reply mostly very moderately and sensibly worded, I was kinda expecting a shitstorm but not there (and I don't like Tsahar's music much better than Ware's so that's nothing to do with my perception here). Agreed.100%, Ubu. Joerg and co. were pretty sleazy here.

Interesting interview (though much of this is identical to what DH has said in other interviews). That said, the interviewer's lack of interest in DH's avant-garde sideman period really detracts from the interview.

Bev, I hear where you're coming from. I like plenty of catchy, "light and easy" finales from that period. But I do feel like the minuet is probably the last segment of the 4-movement structure to break out of the routine.

I was at a concert of Mozart's final three symphonies - all masterpieces, of course - and each time we hit one of the minuets, thought, this is kind of predictable, routine, and dare I say cheesy (something I wouldn't say about the other 3 movements in each piece). Obviously Haydn started to move things in a different direction, and by the time Beethoven got going it became a non-issue, but any thoughts from other listeners?

Any opinions on the SC album "Invisible Paths: First Scattering" (Tzadik)? I like SC a lot and was considering picking it up, but am kind of wary of a solo saxophone album by him.

I saw this group at Birdland on Thursday. Excellent. Some of the music was more abstract like the ECM album, some was more straightahead (like, I'm guessing, the Half Note album - I haven't heard it). They apparently have another album coming out in the spring of 2014.

I am surprised nobody has mentioned Charles Lloyd's album Acoustic Masters I. One of the best post-comeback Lloyd albums and Cedar plays great on it. I have to say that despite belonging to a genre of pianists I am fairly lukewarm on, I always really liked CW. Maybe the best of his style.

I think you are downplaying Nichols and Monk's BN recordings too much, but in general I agree with your argument. Hill may not be the #1 BN composer but you can make a very strong case for membership in the Top 5.

Agreed, there's nothing wrong with new discussion. That said, there's also nothing wrong with using the OLD discussion as a foundation for the new one. There's something fairly presumptuous and egotistical about your insistence on starting a new thread every single time. I realize this comes off as harsh, but since you are a relatively new member of this community I encourage you to exercise some mild deference for what existed here before you arrived.

Hey guys, I have a question about the Charlie Parker sextet session @ the Pershing Hotel included in the Complete Savoy Recordings 4CD box (disc 4). The box claims this is from the October 1950 Pershing date. However, Pete Losin's sessionography, which I am inclined to trust more, throws cold water on this date and says the recording is from a later date at the Pershing (February 1951). Are my instincts to trust Losin sound? http://www.plosin.com/MilesAhead/BirdSessions.aspx?s=510211 "These six items have usually been dated October 23, 1950, but the correct date is apparently February 11, 1951. Parker, booked with his Strings ar Johnny Brown's Club in Pittsburgh, has the night off and flies in to play a dance at the Pershing Ballroom."

I'm a big fan of the duo with Gary Peacock. Memoirs with Haden and Motian is definitely worth hearing. Fun.

I have a question - have any of these boxes gone out of print?

So I've been making my way through the 45 sessions - have listened to the the first two sets, from 1959 and 1960. They are MAGNIFICENT. Wow. Highly recommended.

If you have the Impulse 1973-74 box, there's a snippet of him giving a lecture to a Village Vanguard audience not to clap. He's been eccentric for a long time. It predates the Koln Concert, when he became the jazz equivalent of a "celebrity".

No. The opposite is probably true, this is a minority opinion. Hmm... there's the great Bohemia recording of the original Messengers, there's Birdland with Brownie - at least those are staples. Then I'm very fond of the hippsippy chicken 'n dumplins double set with a returning Mobley, there's the other Birdland double set w/Shorter, which by comparison both to that band's studio sets and the other live sets I never really warmed to that much ... then there's Three Blind Mice (United Artists, right?), and next the fine Limelight one with Frank Mitchell, and by 1968 another label caught the band with Billy Harper ... plenty to choose from, really. But no desert island material except for the first two. My essential Blakey would be a mix of studio and live - first I'd pick the Bohemia material, next Free for All ... and that band, at that point in time, would be my big wish for a live recording to turn up. The boldfaced passage written by Ubu is a more elegant way of rejecting the "live records on BN = main legacy" assertion than my own. For what it's worth, I don't think Moanin' would make my Blakey top 10 discs list.

I think he treats his fans awfully, but since they still give him the money he's never had to change his behavior.