kh1958

That is one incredible, beautiful recording.

I have an LP on Verve called JATP in Europe, which has Hawkins, Byas, Benny Carter, Roy Eldridge, Lalo Schifrin, Art Davis and Jo Jones, which is a great record. Then a 2LP set, JATP in Europe, which on one side (All the Things You Are), has the same band as above, substituting Getz for Benny Carter. Is that the one you are referring to?

See Chapter 17 of Straight Life--The Check Protector, 1964-1965 for the gory details (music, sex, drugs, thievery, violence) of this brief sojourn outside of San Quentin.

It appears to be a U.K. reissue, on Mainstream Records, dated 1991. I have the Mainstream Roy Haynes LP Senyah; however, this CD contains none of the songs from that LP. The cover photo on Equipoise is exactly the same as the photo of the LP Hip Ensemble contained in my Senyah LP. Hence, I surmise that this is a reissue of Hip Ensemble. The tracks are Equipoise, I'm So High, Tangiers, Nothing Ever Changes My Love for You, Satan's Mysterious Feelings, Medley: You Name It/Lift Every Voice and Sing (all copyright 1971) and Roy's Tune (copyright 1974). The CD cover lists 20 reissues in the Mainstream series, including two Blue Mitchells, a Harold Land, an Art Farmer, a Charles McPherson, and a Frank Foster. ← Details, please! Is it complete? Roy did two albums for the label - Hip Ensemble & Senyah, both w/Adams & Hannibal. 11 tunes combined. Rough, but frequently stirring. I've only heard LP versions of each, so if there's a CD version to be had... ←

I have a CD collecting the Mainstream Roy Haynes with George Adams recordings--it's called Equipoise.

A warehouse LP liquidation sale years ago (somewhere in Dallas, and this was an actual warehouse) where, I must confess, I purchased several Nessa LPs, among quite a few others, for $1 apiece-- the Roscoe Mitchell Art Ensemble, Congliptious N-2, Art Ensemble of Chicago, Les Stances A Sophie N-4, Roscoe Mitchell, Old Quartet N-5, Roscoe Mitchell, Noonaah N-9/10, and Roscoe Mitchell, L-R-G, the Maze, S II Examples, N-14/15. That's $5. Sorry about that, Mr. Nessa.

You took the words from my keyboard.

I stopped listening to that station because the student DJs were generally so bad, not being able to pronounce the names of the artists and obviously not knowing much about the music. The signal is not very strong in Dallas either. What with a car CD player and an ipod, I don't care that much, as I rarely listen to music on the radio any more. It would be great, of course, to have an intelligent programer who helped me discover new music, but I haven't heard anything like that since Dennis Gonzalez had a show on KERA where he could play what he wanted (this was quite awhile ago), so I've pretty much given up on that accord. I'll try to remember to check out Roger Boykin, though, as I used to listen to him and had lost touch.

For James Carter, I would say that these four are the best I've heard: Layin' in the Cut Chasing' the Gypsy Live at Baker's Lounge What Spirit Say (sideman with Ronald Shannon Jackson). I haven't heard the one you mention.

The Caravan happened because one of the billionaire Bass brothers financed it, the same fellow who financed the Biosphere "experiment." The group of people who ran it initially (as I recall, the "leader" went under the name of Johnny Dolphin) did not appear to have a sincere passion for jazz, as I rarely observed any of them listening to the music. I think they just thought it was rebellious or daring to open a jazz and arts center in Fort Worth. And the Caravan was in fact a jazz and blues club from its opening in 1983 until about 1989 or so, booking top jazz and blues acts for three or four night runs almost every week during its first several years. (I should know, they almost wore me out driving from Dallas to Fort Worth and back, especially during the first several years.) In the late 1980s, jazz bookings became less frequent (until almost nonexistent in the 1990s until it closed). In its first few years, with a dazzling array of talent booked, great sound, a comfortable setting, usually easily obtained great seats (I usually just walked in and sat in the front row), and even pretty inexpensive, it was the finest jazz club I've ever been to, next to the Village Vanguard.

I don't disagree, but Fort Worth is where I've seen the most live jazz--mostly thanks to the Caravan of Dreams--Ornette Coleman, Stan Getz, Art Blakey, Max Roach, Sun Ra, Freddie Hubbard, Woody Shaw, Dewey Redman, Charles Moffett, Ronald Shannon Jackson. James Blood Ulmer, David Newman, McCoy Tyner, Ahmad Jamal, Pharoah Sanders, Art Ensemble of Chicago, Mingus Dynasty, Horace Silver, Jack DeJohnette, David Murray, Bobby Hutcherson, Tony Williams, Joe Henderson, Benny Carter, etc. Only partially true, my man! Granted, Fort Worth is redneck central, but that ain't all it's known for. Fort Worth has quite an arts district, one that Dallas only dreams of having. The Kimball Art Museum is there, and that's one of the most prestigious art museums in the country. There is a lovely botanical gardens which not only contains a wonderful Japanese garden, but also hosts outdoor summer concerts every year, with fireworks displays that are almost literally out of this world. The Fort Worth Zoo puts the Dallas Zoo to shame in terms of cleanliness and attractiveness. And that whole neighborhood is jammed with antique houses. Then you have Sundance Square, which is fine, but when you consider no one down there thought much of the passing of Caravan of Dreams (and put up a snooty two-star-masquerading-as-four-star restaurant in its place), that knocks it down quite a few notches. However, the atmosphere in that area is infinitely more inviting on a weekend evening than Dallas ever was. West End doesn't even come close. Having said that, though, it's not for nothing that George Strait wrote "Does Fort Worth Ever Cross Your Mind?" ←

I have Perdido Street Blues and Too Tight Blues on my ipod, taken from an anthology. Are the rest of these sides available on any CD issue?

Out of your list, I prefer Charles Earland, including Black Talk and Slammin' and Jammin'.

I've heard that some Americans have too many CDs and LPs, but I am not convinced that such a condition exists.

Yes, I was born in 1958, a mere one day older than Michael Jackson and Madonna. Oh, I'm a fan of Dizzy my friend! I got to meet him in the 80s on a jazz cruise. I've also got a lot of Dizzy recordings, which is why this new thing blew me away- I'm jacked to hear Diz in a moment where the imagination and chops are in TOTAL sync. Not that it hasn't happened before, but this particular concert was especially good IMHO. I'm down with you on love for Diz, kh1958! BTW, is 1958 your birthyear? It happens to be mine, so we might be of the same vintage. Regarding who's playing on 52nd Street- I won't pretend to present any kind of expert opinion, but I got a feeling from the chatter/audience response between tunes that Sid might have stayed on to play the short version of 52nd St. The feel between Max and Sid is so similar it's hard to say. IMHO Sid played with a little more emphasis on the quarter notes than Max. But I'm not sure. Other guesses? ←

If Dizzy is a revelation here, you have been missing out. Dizzy is the greatest jazz trumpet player (just my opinion, of course).

The discography, The Earthly Recordings of Sun Ra (second edition), actually makes for fascinating reading in tracing the recording and travel history of the Arkestra.

I seem to have a number of his discs that I don't like (I do like Africa Brasil as well), but Live in Rio is a great live performance.

Compared to any store in Dallas, the Tower near Lincoln Center is still quite good. Used to be. The Jazz section is about half the size it was 10 years ago, but it's worth checking out. ←

An obnoxious store and inferior to Tower. Very expensive. ←

It looks like a new live Sonny Rollins is coming out, according to this article excerpt. "Rollins' most recent example of the art of the improviser is forthcoming in August in a remarkable album, "Without a Song (The 9/ 11 Concert)," recorded live in Boston only four days after the terrorist attacks. (Rollins was at his Manhattan apartment six blocks from the World Trade Center during the attack, and was famously shown on television, being escorted to safety, with his saxophone in hand.) As you can imagine, the concert program of standards like "Why Was I Born?" and "Where or When" has riveting improvisations, empowered by the potent emotions of the time, and is Rollins' exhibit A in the case for the healing power of music."

Yes, it happened again-- 388764b Carlinhos Brown/Bebo Valdes/Marisa Monte--- Miracle Of Candeal 30182b Baden Powell -- Solitude On Guitar 69088j Clifford Jordan --- These Are My Roots -- Clifford Jordan Plays Leadbelly

It's been a long time since this movie. Is David Lynch working on a new one?

I must be out of touch--what's a "DualDisc"? It's out now as a DualDisc. I doubt it will ever be issued as a plain CD. If anyone knows where I can hear sample clips, LMK. ←

Also the recent Mingus at Montreux DVD, and there's an excellent Gene Ammons at Montreux (with Dexter Gordon and Cannonball Adderley on one extended jam session).