Guy Berger

I only watched the Letterman and Zep segments (I caught the broadcast by accident while flipping through channels). Heart and Kravitz were outstanding (after Kravitz I thought, no one can top that - I was wrong). Foo Fighters and Kid Rock, not as good.

I may see it when it comes out on dvd. But Inglorious Basterds left a really bad taste in my mouth.

He plays flute on Ole, Africa/Brass (I think) and live recordings of My Favorite Things from this period. I like his contributions but the Coltrane group got better after he left. I would also say that while I like a fair amount of ED's 1960-61 work, his best stuff was mostly in 1963-64.

Out to Lunch was one of the first jazz albums I ever acquired - loved it immediately. He opened the door to Monk for me.

Love the Redman/Blackwell duets album.

I don't think this is an appropriate analogy. Unless we are talking about a creative writing class, the purpose of writing papers is to communicate clearly to the reader. There is no such clear-cut purpose to making music. I am surprised that Ornette and Ayler's legitimacy as musicians is still questioned today.

Yeah, I'd agree its brilliant. But not in the way you think. The psychologist and the principal died because they tried to tackle an armed intruder. If they were armed - and trained to use a weapon - would anyone have died? Would as many have died? They were hopeless, trying to stop him. Maybe they wouldn't have been quite so hopeless. Yes. If only Nancy Lanza had some guns around when her son Adam tried to murder her, maybe she wouldn't have been so hopeless. Oh wait, she did. Dan, I don't remember how old your kids are, but how comfortable would you be if there were a few dozen guns laying around (for protection purposes of course) at their school?

Alas, the BN is also OOP and there is no digital version

Alas, the Verve box is OOP and used copies are dementedly expensive. I could go digital. Unfortunately I would still be stuck without the Roost. It looks like another good option is the Jazz Factory set. Any thoughts on that vs Proper?

Hey guys, I am looking to filling a gap in my collection - Bud Powell's early non-BN recordings as a leader. I guess I need the 1/10/47 session, the early 1949 sessions for Norgran with Ray Brown and Max Roach, the Feb. 1950 sessions for Norgran with Max and Curley Russell, the July 1950 session with Ray Brown and Buddy Rich, and the Feb 1951 solo piano session. It looks like the Proper box set "Tempus Fugue-It" is my best option (though it omits the 1951 solo session). Any other suggestions I am overlooking?

I also have this box set, and this is my sentiment as well.

We saw this quintet (Soundprints) last night at the Village Vanguard: Dave Douglas, Joe Lovano, Lawrence Fields (piano), Linda Oh (bass) and Joey Baron. Very good. I was actually most impressed with Douglas, who I hadn't listened to much prior. Joey Baron was also great as usual. I didn't hear a lot of connection to Wayne's music - not a criticism, I appreciate the fact that it wasn't a repertory group. Worth checking out if they come to your neighborhood.

One possible suggestion is to cap the thread after a certain number of pages and start a new thread under the same title [Funny Rat Part XIII etc]. JCS does this and I think it's useful for keeping things manageable.

I've heard 3 of the four albums here - Inflation Blues being the exception (so I'll be getting the box!). The first, self-titled, album is an absolute classic. Tin Can Alley and Album Album are both very good though not flawless. According to Steve Lake over at Jazz Central Station, ECM is also on the verge of releasing a 6 CD box of Paul Motian's early ECM albums: Conception Vessel, Tribute, Dance, Le Voyage, Psalm and It Should've Happened a Long Time Ago. I believe Ethan Iverson is writing the liner notes.

Somewhat - but that album is very heavy on In a Silent Way/Bitches Brew material. In the summer/fall of 1969, the band was still playing a lot of material from earlier in the '60s (Footprints, Masquelero) and even some tunes from the '50s (Round Midnight, Milestones, No Blues). Even those tunes get pretty abstract, though. There are other differences to my ears. Chick wasn't using the heavy processing on his electric piano yet, so it sounds like a "clean" electric piano sound. Airto is absent. The rhythm section has a lighter feel. And generally speaking, the "new" tunes are approached in a much less rock-oriented way during the 1969 concerts - "It's About That Time" and "Miles Runs the Voodoo Down" were vehicles for free improvisation, especially after Miles's solo. This is probably oversimplifying things grossly, but the 1969 quintet played free jazz with electric piano. The sextet that played the Fillmore East in 1970 did some of that, but also more groove-oriented music. As 1970 advanced, Miles's live groups cut down on the amount of free music and increased the amount of groove-oriented music.

RIP.

The live shows are indeed where so much of this stuff was fully realized...and I don't know that the music was made to be exalted per se...I think Miles had gotten all that out of his system and wanted to challenge the popular culture (which is not the same as Pop Culture) for personal reasons at least as much as he did musical ones - but still on his terms, with his "flavor" still intact by the time it was all said and done. Agreed 100%. The argument that "it will never undergo the same re-evaluation as the 70s music" is a total straw man, re-evaluation is not a binary choice between "this is commercial garbage" and "this is amazing, innovative, classic music".

It was a Mosaic of a bunch of BN sessions under Joe's name, a lot of them with Wayne Shorter on tenor. The last one in the box was an Ascension style large-ensemble jam session. When I woke up and realized none of this music actually existed, I was a little sad.

This is an interesting discussion. It seems to me like there has already been a fair amount of re-evaluation of the 80s music, especially as more live recordings have circulated. I don't think we will ever see it exalted at the same level as the 70s music for multiple reasons, but (for example) I would guess its reputation has held up better than that of the music W Marsalis made during the same period. By the way, "Jean Pierre" was included in the recent Murray-Waldron duets disc. Any other examples of 80s Miles entering the repertoire?

The comment to Dave might also have come later. Between the Nov 1969 concerts in Europe and the Mar 1970 concerts at the Fillmore East, the amount of vamp playing in Miles's live music increased a lot.

Looks like we got off relatively lucky on the UWS (though who knows when/if our power will go out). I walked around with Henry the dog and some trees were knocked down along with various scaffolding, etc. I didn't see any major damage. Hope people in harder-hit areas are OK.

To be fair to the "other guys", Jimmy and Elvin played together for 4 years.

Lots of wind where we are (upper west side). Our dog is terrified. Stressful experience, crossing our fingers for those people who have lost power and/or are suffering from flooding. Hope board members in south Jersey, Delaware and Maryland are OK.

I was a little embarrassed for Carter when I read that. ethan iversion ron carter interview

I made this point earlier, but worth repeating. Let's say you have a storm that has 40% chance of doing $10 million in damage and killing 1 person, 30% change of doing $100 million in damage and killing 10 people, 20% of doing $1 billion damage and killing 100 people, and 10% change of doing $10 billion in damage and killing 1000 people, a good weather forecaster should place significant emphasis on the 10% catastrophe scenario even though there's a 70% chance that it will be only a moderate disaster. This is important to understanding why so many people in the aftermath of a such a storm think "overhype." In fact, 9 out of 10 storms will be milder than the worst-case scenario. Storms ARE "overhyped", but for sound reasons. (The specific numbers here are made up, but the logic is not.)