Free For All

Some great Thad charts, the timeless Blues in Hoss' Flat- IMHO, this is a good one. Definitely worth picking up. I thought the sound was kind of funny on the reissue (maybe it was like this on the original, I don't know)- when the band shouts, it seems to get softer, like some some of 'limiter' is in place or something. I'm sure someone can explain this in technical terms better than I can. It just sounds kind of artificial to my ears. But I do love the music, especially Thad's charts!

I haven't yet heard this one (and I'm a big Horace Silver fan) but I have to say that on another fairly recent release, Jazz Has A Sense Of Humor, I felt that the usually impeccable sense of time found in HS rhythm sections was lacking. Now this could have been due to recording issues (such as the musicians being able to adequately hear each other) or maybe because Horace has lost a step or two. Horns were fine (Ryan Kisor and Jimmy Greene) but I felt uncomfortable about the rhythm section- they just weren't hooking up. When I go back and listen to older Horace sides the rhythm section's sychronization/sympatico is one of the most enjoyable aspects. I haven't been overly impressed with his recent issues, but I tend to cut him some slack because it's Horace, and he's paid his dues big time. But I'm less likely to run out and pick one of these new ones up compared to say an RVG of Cape Verdean Blues!

I really like Shirley Horn's Here's To Life which has some beautiful arrangements by Johnny Mandel.

Or you could adapt this question I've always wanted to ask Randy Brecker in a public clinic: "So, Randy, when you see an altered dominant, like an A7(#5,b9), and it resolves in a non-functional manner, like to a GbMA7, well, how would Michael approach playing over that?" All in fun. Love the Randster.

How about if you just kick him in the nuts? Jus' open a big ol' can o' whuppass on 'im. I of course won't be there but I'll be thinking of you.

Ditto. Me too.

He should have gotten out of the way, for sure. If you're going to sit that close you should have half a brain and be prepared that you might need to get the hell out of the way of a big play once in a great while, even in the seats and out of the field of play. But I'm afraid the Cubs have only themselves to blame for the big fold. Believe me, I'm a longtime fan and it broke my heart to see the all-too-familiar self-inflicted wounds, but they could have won the game if they hadn't made all those mistakes after the "event". That guy was an idiot and while he didn't do anything illegal, his brain seemed to be on "pause". Let it go folks, and get behind our boys tonight!

Rooster, your "floating posts" are starting to creep me out!

Of course, there would have to be a discrete way to phrase the question so it doesn't sound overly critical. "Mr. Hill, we were wondering if the sloppy ensemble work on Passing Ships was intentional, or did you just get screwed on rehearsal time?"

Who you talkin' to dude?

You know, we could submit a limited number of questions (to b3er or someone else in a moderator position) to be asked so it doesn't turn into an online gangbang.

...........and will he give them to ME? You know, one of the jazz rags should do an article on AH regarding this release and axe him all these questions. How about an Organissimo "Ask the Artist" feature w/different guests, like the one at Jazz Corner? Would that be cool or what? :rsmile:

You are correct, Mr S. Some of the looseness and time conflicts make me wonder where the horns/rhythm were located in the studio when they recorded this- like maybe there was a proximity issue (that created problems in hearing all the other players) that contributed to some of the sloppiness.

I'm definitely someone who prefers tight ensemble work and I mostly agree w/Jim that it would have been interesting to hear this music after a little more rehearsal. That being said, I can't help but feel OK with it as is. It's loose, to be sure, but I'm not so sure that that is detrimental to the spirit of the music. There's a bit of a reckless, careening quality to this music that reminds me of some Mingus, Monk and Ornette dates that come off as extremely loose, but seem to work anyway- slightly under-rehearsed but very spontaneous. There are a few spots , though, that I do feel the horns are not on the same page time-wise, and that is a little irritating. Now, there are some recordings that I really wish could have been tighter, such as some of the Gil/Miles things like Porgy and Bess. I also don't think this "loose" feel would have worked with something like the Mulligan CJB, or the 70s Horace Silver and......series. As someone who plays in big bands frequently I find myself preferring tight ensemble work BY FAR. The other extreme is an over-rehearsed ensemble that plays w/no energy.However, there's something that seems acceptable about the overall vibe on PS, and that includes the ensemble work. I'd be curious to ask Mr. Hill about his feelings regarding the level of preparation. Rooster, can you get on that? Now that I read over what I just wrote, it seems that I'm on the fence about this point. Other observations: Woody rules, it's cool to hear him do his thing in a harmon mute, which you don't hear that often. Joe Farrell is a MF. Doubling chops up the wazoo and great solos. Very Joe-esque! Julian has some nice moments- I've not always been a huge fan of his, but I think he plays well on this one. Some of those quirky horn backgrounds remind me of Batman fight scenes. B) The first tune's head reminds me of the melody of "Easy Living" for some reason. Overall this is a beautiful piece of work.

Me three!

Thanks for that info, Lazaro. I need to get that one- I do have some of the other Woofy recordings w/Carl. As I said before, his general disdain of the music business resulted in a dearth of recordings, so it's great that he managed to get some things out over the last 10 years or so. His memorial service is today. I regret that I couldn't attend, but I'm with him in spirit. Thanks again, Carl, for sharing your great gift. You will be fondly remembered by many, and your legacy will live on.

Hi John- hope you're enjoying your b-day. All the best! Carl's memorial service is today- throw a good thought his way.

In addition to the aforementioned Miles and Eldridge sets, I'm looking forward to the upcoming Woody Herman boxes- the Complete Phillips and the Complete Columbia First and Second Herds Mosaic (2004). Also the Feb./March RVGs (some good titles there-Newk's Time, Cape Verdean Blues, Byrd at the Half Note et al)and the Brookmeyer Select.

Seize the bidet!

BTW, for anyone who might be interested, Carl's memorial service will be on Tuesday, October 14th at 3 pm at Palm Mortuary, 7400 West Cheyenne, Las Vegas. You might have heard it was going to be on Sunday, but that was incorrect. I wish I could attend, I'm still trying to work it out. My heart goes out to Carl's family and friends.

Chubby Jackson, Carl Fontana and Don Lanphere. Looks like Woody's getting some company. I hope this ends the "bad news in threes" for now.

How about you, Barak? You seem to be a trombone fan. Do you have some favorite Carl recordings? Soul Stream? I'd like to keep this thread alive for a while.

Paging Chuck Nessa! You recently posted that you were in possession of some Carl and Frank recordings. Elaborate, please. I have some tapes that have been floating around of these two doing some gigs together. I wish they'd have done something that was released. They really played off each other well. Man, I think about my three favorite trombonists- JJ, Carl and Frank and realize they all had a sad demise. Not that that's unique in the history of jazz, just sad.

I'd like to do just that. Forgive me if this is a stupid question, but are these available? I noticed at CDUniverse they've been on backorder for a loooooooong time. I need to get this set. Give me yours please.

Those are some great recommendations, John. The Bobby Knight recording is one of my personal favorites, but I'd have to recommend it only to Frank/Carl fanatics because you have to wade through some fairly cheesy trombone ensemble charts to get to the good stuff, but the good stuff is certainly plentiful. The CD release of this session has two excellent extra quartet cuts- one featuring Frank on Lover Man and one featuring Carl on Stardust. My first exposure to Carl was on the Supersax "Salt Peanuts" album. Carl blew on Yardbird, Confirmation and Salt Peanuts. When I heard those solos, I knew this was it- THIS was the way trombone should be played. I figured at that point I could either quit or I could start working. I'm glad I chose the latter. There's an old Impulse Louie Bellson side from 1963 called "Thunderbird" with Carl playing some nice solos. Also a Pacific Bill Perkins Octet side from 1956. Kenton's Cuban Fire Suite (plus a classic Carl solo on Intermission Riff). Some assorted Woody Herman dates. Another classic- the Concord Hanna-Fontana Band. For some reason Carl never liked this side, but for me any many others he sounded magnificent. This Is The End Of A Beautiful Friendship is a lesson in swing and solo development. I got to know Carl through being on the Herman band. For Woody's 5oth Anniversary there was a concert at the Hollywood Bowl- the current Herd played alongside an alumni Herd- Fontana, Jake Hanna, the Candoli brothers et al. Stan Getz was there. Afterward there was a a big party at Woody's house-the one he eventually lost to the IRS. John Fedchock and I hung with Carl all night, and he drank us under the table. Through fate and manipulation I got to hang with Carl many times after that, and he played on my CD for next to nothing (I tried to pay him more, but he refused). I never thought I'd actually get to play with someone I held in such high esteem as Carl. He kicked my ass, BTW. He had a general mistrust of the music business, and the consequence is that his too-small discography is littered over many labels. He wasn't particularly a hustler, but if you could get him to a gig, he'd always steal the show. I attended a clinic of his once- someone asked about his warm-up routine. He said "Oh, this is what I usually do to warm up" and launched into a doodle-tongue frenzy that left all the kids slack-jawed. Carl's warm-up. Right. Plus he always chewed gum WHILE PLAYING. Any horn player knows how odd this seems. I kept waiting for a giant bubble to come out his bell. OK, any of you guys with Carl stories, please speak up.