Guy Berger

Jason Moran

I agree, it would have been much more ethical to sell the house and donate the money to a good charity. But I'll point out that wrecking the house was probably not as wasteful as building it in the first place.

I've only purchased a few of these sets, but love 'em. They're being released faster than I can buy them.

Guy your #2 is interesting. Do you mean the music that is under the narration and what follows the narration? Does it appear to be live? losin link - scroll to the bottom The last three minutes are not from the Cellar Door, but from surfing Losin's site I can't figure out where they come from. Guy

I haven't heard the Benson recording in question. How does he play? On "Paraphernalia" (from Miles in the Sky) he doesn't sound particularly comfortable in a more adventurous format.

I'm glad to have both with and without McLaughlin. Keith Jarrett makes it pretty clear that he thinks McLaughlin threw off the band, but I never got the feelng this was a unanimous opinion among the musicians. A while back I downloaded as many recordings as I could of this band when Jack was at the drums - and they're great. The ones with Ndugu are not as wonderful, but worth hearing nonetheless.

Recently finished: RICHARD EVANS: The Coming of the Third Reich, The Third Reich in Power, The Third Reich at War (excellent trilogy... very depressing/horrifying) KAFKA: The Trial ERIK LARSON: In the Garden of Beasts (ok, not great) currently reading: ERIN MORGENSTERN: The Night Circus (about 70% of the way through, intriguing but I will wait until the end to make a verdict) DAVID MATTINGLY: An Imperial Possession, a history of Britain from 55 BC to 409 AD (barely started this one)

Also, "Double/Image" is on the BB box. However: #1: the edits of the music as presented on Live Evil don't exist elsewhere. #2: it's unclear what the last few minutes of "Inamorata" (actually "It's About That Time") come from, but not from the Cellar Door box. Guy

I was just listening to Charles Lloyd's Of Course, Of Course, which was recorded in 1964-65, and was wondering about this topic. Most of the great jazz guitarists of the 60s - Green, Burrell, Montgomery, etc - were working within various variants of the bebop style. (Even on post-bop recordings - think of how hard Miles struggled to find a guitarist for his late 60s bands!) By the late 60s we start getting a proliferation of post-bop and avant-garde guitarists cropping up all over the place. But what are the first recordings to feature a guitarist moving outside of bop - harmonically, rhythmically, or melodically? Obviously there is Szabo who started doing this around 62-63. Atilla Zoller, a little later (64? 65?). Sonny Sharrock starts showing up on recordings in 1966 (is there anything earlier?). I haven't heard Larry Coryell or John McLaughlin from this period. What about Jim Hall? Some of the stuff with Chico and Giuffre is definitely outside bop's sound world. And of course, the various guitarists in the Tristano circle.

Unless there was a second group with JJ, this was in 1962 with Mobley on tenor, and the Kelly-Chambers-Cobb rhythm section. As far as I know, there are no recordings, official or otherwise.

Hmmm, I really like the forum subtitles. But I like the idea of tags too. Tough choice.

I used to enjoy that site when I was more of a prog-rock fan. Over time, though, I felt his fusion interviews suffered somewhat from not being familiar enough with jazz. Still a great resource though. Guy

I actually like the idea of an index for threads, though Ubu's idea of tags (if feasible) would be even better and easier to implement. The search function is, in my opinion, cumbersome to use and not always useful. Anyway, welcome aboard!

Definitely worth checking out again. For me it's one of the great Miles albums particularly for its difference. Instead of standard song forms, he gets to experiment with atmospheric pieces to work with the film, and I think this is where he develops a lot of the minimalist, "gestural" playing that he'd more fully explore years later in his first electric period. Yes, I think it's a great one and I regret overlooking it for a long time.

Maybe among hardcore jazz fans... but if you look here it seems many listeners consider it to be his "best" album.

Steal Away is one of my girlfriend's favorite jazz albums; I like it, but not as much. I love the hymn medley, though.

Will check it out. I am not a big fan of the concert itself - all sugar, no substance to my ears.

Interesting thread!

Pretty soon he'll be wearing gold-plated diapers.

RIP Sam. You never quite got the recognition due to you, but it was appreciated over here.

I really like this one - better than the two trio sets on Blue Note. Guy

For a second I thought that was Mike Ditka. Guy

RIP. A giant of post-WW2 European history.

I think this specific issue pretty much encapsulates Hitchens's weaknesses and strengths. He offered withering (sometimes also witty and/or hilarious) criticisms of those he disagreed with. His writing was also infused with a strong moral (almost religious!) fervor. But when you actually think hard about the logical arguments made in the articles Hitchens wrote around this time, much less how the policy he endorsed play out, it doesn't seem like he added much substance to the debate.

Yes. He was a gifted writer, but often lightweight on content and logic.