kh1958

Cannonball Adderley with Milt Jackson--Things are Getting Better (Riverside, blue label) Stan Kenton--Cuban Fire (side 1) (Capitol, turquoise label) Miles Davis--Bitches Brew (side 4) (Columbia, two eyes)

Yes, I was kind of astonished. Also a sealed Johnny Hodges/Wild Bill Davis--Blue Pyramid on Verve (haven't opened this one yet). I can't say I paid much attention to the cellophane--I did enjoy ripping it off to find a cover in perfect condition, and it turned out to be the orange/black first pressing. The LP gods have been smiling on me lately.

I just found a sealed LP copy of this recording and listened this weekend. I've only listened once, I was sort of expecting that it would be one of the cheesy Impulse mis-fires that are sprinkled in the catalog--Gabor Szabo on sitar, you must be kidding--but by the time I got to the second side, I was enjoying the album--on the second side especially there are some really burning tracks. I need to listen again and re-evaluate from the perspective of a higher expectation, but my first listen was mostly positive.

The most recent example for me is: Buyu Ambroise: Never heard of this tenor saxophonist from Haiti (a current New York resident), but I ran across an unopened CD of his (Blues in Red on Justin Time) cast away at a HPB and really liked it. I immediately searched for his one other CD (Maraisa, acquired from CDbaby) and had a similar favorable reaction. Currently hoping his promised third release arrives soon.

First Frank Strozier: MJT + 3--Make Everybody Happy (Veejay) Frank Strozier, Harold Mabern, Willie Thomas, Bob Cranshaw, Walter Perkins.

Ornette Coleman--Tomorrow is the Question!--with Don Cherry, Percy Heath, Red Mitchell, Shelly Manne

Gabor Sazbo--Jazz Raga (Impulse, orange and black) Howard Rumsey/Hampton Hawes--Lighthouse at Laguna (Contemporary, lighthouse label) Bud Shank featuring Carmell Jones--New Groove (Pacific Jazz black label)

Phineas Newborn--Piano Portraits (Roulette, Birdland series) Earl Fatha Hines (Epic)

Cecil McBee Sextet--Compassion (Enja)--with Chico Freeman, Joe Gardner, Dennis Moorman, Steve McCall and Don Moye.

National Ennui in the Arts Award?

On first couple of listens, this one is impressive--one of his best recordings, I think.

I found his new one, Third Round to be overall disappointing, only two or three songs I liked--a blander group than on Playground and less distinctive compositions.

Horace Silver--Cape Verdean Blues (Blue Note, Liberty blue and white) Freddie McCoy--Lonely Avenue (Prestige, blue label) The Artistry of Freddie Hubbard (Impulse, black and red)

Kenny Dorham--Matador, with Jackie McLean, Bobby Timmons, Teddy Smith, J.C. Moses

I found an apparently unplayed two eyes pressing recently, the sound is wonderful. It is marked with an S.

The Celebration by Charnett Moffett (CD, Treasure on Motema)

J.J. Johnson--Proof Positive (Impulse, orange and black)

Gene Ammons--The Big Sound (Prestige, yellow and black NJ)

Michael Burks at Pearl. A modest crowd at the best music venue in town--I quite enjoyed the previously unfamiliar to me blues guitarist leading a tight quartet (organ, bass and drums). Also featuring the usual show of women in scanty outfits and superhigh heels tottering by to go to the dance club down the block.

Andew Hill--Compulsion (Blue Note NY USA, no ear) Kenny Dorham--Una Mas (Blue Note, black and blue Liberty) Phineas Newborn--Here is Phineas (Atlantic, fanwheel).

It is exciting news--a Thursday night, 200 miles away, but I'm not missing it.

I would have liked to have heard the concert, but of course there was no publicity in Dallas.

Pearl at Commerce pretty much only has National Touring acts on Friday and Saturday nights--I think it's closed on Sunday. Tonight--Michael Burks.

November 18--Ornette Colemen, Bass Hall in Austin There are only two U.S. concerts currently listed on Ornette's website for 2010.

http://www.dallasnews.com/sharedcontent/dws/ent/music/stories/DN-sharriff_18ent.ART0.State.Edition2.297b21a.html Pianist helps Marshall, Texas, validate claim as boogie's birthplace 12:00 AM CDT on Friday, June 18, 2010 By LEE HANCOCK / The Dallas Morning News lhancock@dallasnews.com MARSHALL, Texas – Omar Sharriff thought boogie-woogie piano was his one-way ticket out of town. When he left Marshall in 1955, he never looked back, even as his life narrowed from big shows to a dingy Sacramento, Calif., apartment, meals-on-wheels and gigs that barely covered cab fare. Then came a phone call from a Texas music historian, who said he'd prove that Sharriff's hometown gave birth to boogie-woogie piano. The historian knew that Sharriff's father played boogie in East Texas and might have learned it from the genre's originators. That made 72-year-old Sharriff Marshall's last, best living link. Sharriff thought someone was playing a joke, even after the part-time historian, a San Antonio psychiatrist named John Tennison, asked to visit him in California. Sharriff had hated Marshall ever since he saw another black teenager get beaten up by rednecks on the courthouse lawn while white cops stood by. Sharriff left as soon as he could, certain that staying meant prison or an early grave....