Dan Gould

Headed to Borders, coupon in hand, but they didn't have the Fathead CD. Decided to take a chance on Have You Heard Jim Croce Live. With the coupon, it was about $11 ... and a very well-spent $11. A lot of his music works even better with just the two accoustic guitars and his voice (though I have to admit the barrelhouse piano really helps make "Bad, Bad Leroy Brown"). The only thing missing is "I've Got a Name" which is disappointing but what can you do? Highly recommended to his fans.

Yeah, same here, I skipped the one before this. And, with Valentine's coming up, I've printed out Peter's emails, marked the two Dexter's, and told my wife, this is what I want. B-) And she said, "good, you're making it easy for me."

Brownie, my brother just sent me the Editor and Publisher link but you beat me to it. Glad I scanned the thread before posting.

While I'm mostly interested in the Dex, I'm sure there are some other folks who will be interested in Bill Barron and certainly Sam Rivers: New Releases - Shipping: January 24, 2005 All titles 16.98 Available from: Stateside Distributors 1004 N. California Chicago, Illinois 60622 Tel: 1-888-776-0436, Fax: 773-862-8630, e-mail:stateside@prodigy.net SteepleChase SCCD 31568- Harold Danko Trio -“Hinesight” Featuring: Harold Danko (piano), Michael Formanek (bass) and Jeff Hirshfield (drums). Danko takes on 12 compositions penned by Earl ‘Fatha” Hines including: “Deep Forest”, “Rosetta” and “Everything Depends on You”. Recorded in March 2004. 24 bit 96 KHz recording. UPC# 716043156825 SCCD 31570 – Bill Barron Quartet – “Live at Copi’s” Bill Barron (Tenor saxophone, born 3/27/27, died 9/21/89, older brother to pianist Kenny), native to Philadelphia in his formative years, played often with Red Garland, Philly Joe Jones, Dizzy Gillespie, Shirley Scott Benny Golson and a host of others in the 50’s and 60’s. On this live set, recorded on 10/24/87 and 3/4/88, he is joined by Fred Simmons (piano), Santi Debriani (bass) and Ben Riley (drums). The set includes 5 Bill Barron originals. 24 bit, 96KHz remastering. UPC# 716043157020 SCCD 31571 – John Abercrombie / Andy LaVerne -“A Nice Idea” Abercrombie (guitar) and LaVerne (piano) are featured here on their third duet CD (the other 2 are SCCDs 31301 “Nosmo King”and 31538 (Timeline) on SteepleChase. Tunes include 3 LaVerne and 2 Abercrombie originals (including the title tune) along with chestnuts like Mancini’s “Day of Wine and Roses” and Velazquez’s “Besame Mucho”. 24 bit recording. UPC# 716043157129 SCCD 36035 – Dexter Gordon Quintet -“Ladybird” More from the vaults! Recorded live at Montmartre Jazzhus in Copenhagen on 8/19/65, this recording features Dexter Gordon (tenor sax), Donald Byrd (tpt), Kenny Drew (piano), NHOP (bass) and Alex Reil (drums). Tunes include: Tadd Dameron’s “Ladybird”, Miles Davis’s “So What” and “Blues by Five” and the Anthony Newley ballad “Who Can I Turn To?”. 27 bit, 96KHz remastering. UPC# 716043603527 Further information on these releases is available at http://www.steeplechase.dk STUNT STU 04122 – Kasper Villamue Trio – “117 Ditmas Avenue”- Featuring: Kasper Villaume (piano), Jesper Bodilsen (bass), Jeff ‘Tain” Watts (drums). Nine tunes here include: Hancock’s “Toys”, “Seven Steps to Heaven” – Feldman/Davis “I Fall In Love To Easily – Styne” and the lead tune “Please Enter – Tain” by Villaume. Recorded in Brooklyn, NY on 6/23/04 at Systems Two. Those who remember the quality and drive of Villaume’s last CD (Stu 03102 – Kasper Villaume Quartet #2) will not want to miss this one! UPC# 663993041223 STU 04132 - Katrine Madsen “Close To You” Featuring: Katrine Madsen (vocal), Stefano Bollani (piano), Jesper Bodilsen (bass), Morten Lund (drums), Hans Ulrik (Tenor Sax, alto flute, harmonica) and Marten Lundgren (tpt). Standards by the likes of Bacharach, Lennon/ McCartney, Noble, Ellington, and 3 Madsen originals. Excellent recording quality. UPC# 663993041322 STU 04142 – Soren Siegumfeld’s String Swing – “Blue Hat” Band leader/composer Soren Siegumfeld has gathered an impressive array of musicians including the legendary French accordionist Richard Galliano, vocalist Josefine Cronholm, Jacob Fischer (Portuguese guitar), Tabias Durholm (violin) to perform original music in various European folk stylings. UPC# 663993041421 STU 04152 – Caroline Henderson “Made In Europe” Featuring: Caroline Hendersen (vocals), Jesper Nordenstrom (piano/organ/ string arrangements), Anders Christensen (bass), Kresten Osgood (drums), Paolo Russo (bandeneon), Boi Holm (guitars, banjo), Marilyn Mazur (percussion), Ned Firm (tenor sax), DR Danish Radio Concert Orchestra conducted by David Firman. Twelve tunes including “Lush Life”, “Since I Fell for You”, “Mother Earth”, “Use Me”. Slick. UPC# 663993041520 STU 04162 – Sam Rivers – “Purple Violets” Featuring: Sam Rivers (tenor sax, alto sax and flute), Bryan Carrott (vibes), Ben Street (bass), and Kresten Osgood (drums). Original tunes from Rivers and Osgood along with a rendition of Ellington’s “The Mooche”. UPC# 663993041629 STU 04172 – Ibrahim Electric meets Ray Anderson Featuring: Jeppe Tuxen (Hammond B3), Niclas Knudsen (guitar), Stefan Pasborg (drums), and Ray Anderson (trombone). Original Music recorded live by The Danish Broadcasting Corporation at Copenhagen Jazzhouse 1/7/04. Funk / Rock/ Outside. UPC#663993041728 Further information on these releases is available at http://www.sundance.dk

I can't answer your question, but I did make a silly suggestion to Eddie Higgins when I kind of assumed that between all of the 50s-60s reissue programs and the popularity of labels like Venus, the Japanese jazz scene tends toward the bop-hard bop classicist style, and he assured me that the scene is as varied as it is anywhere else.

I would be surprised if people are ready next week for answers. Probably the week after, but there are quite a few who haven't posted here yet. But that does make me wonder what RT is doing about getting ready for #23.

What, you don't think reducing a man's life's work to terms such as "ramblings," "convoluted meanderings," and "utterly vacuous" isn't "nasty and contemptuous?" Tell us what you do for a living, Dan, so that we may have the opportunity to reduce YOUR life's work into a series of petty and uncalled for blasts against what you've dedicated your life to. So, apparently, a professional critic can't be criticized. Watch out Allen, there's someone in the running for Chairman Emeritus of the Larry Kart Fan Club. What a pathetic crock of shit, Al. You seriously think I am dismissive or ignorant of the fact that Larry's been gainfully employed as a critic/commentator for a long time? OK: I find nothing illuminating in any of the opinions/views that Larry has shared on this board. I find his writing to be wordy and convoluted; surprisingly so from such an esteemed writer. Maybe his published work is more succinct, but I find his writing on this board to be dense, convoluted and hard to follow. His writing, specifically about how musicians go about their business, epitomizes the cliche I quoted before: Writing about music is like dance about architecture. No, no nastiness is received from taking something completely out of the realm of what's being discussed in order to get off some shots. Definitely no contempt there. But a hearty FU to you, but no nastiness or contemptuousness intended. Its just for the hell of it.

Try left clicking and choosing "Refresh", dingbat. Now I'm wishing Edith Bunker on him.

Yeah, that would explain it except for this: That isn't the message you posted at 2:22 PM, is it? And a hearty FU to you to, sir.

NOT COOL, Allen, to go back and edit a post so that it now appears you responded to my challenge to identify offensive statements earlier. Now, my repeated challenge looks foolish, because you tried to alter reality. NOT COOL at all.

Uh, if there's "no there there" then naturally the opinions would be viewed as vacuous. And no, if you told me my opinions are vacuous, I would not consider that nasty at all. The fact is that throughout my posts, I said things like "you've mileage may vary" and "if you get great insight, more power to you" but apparently, when you speak of someone as exalted as dear old Larry, you may, may be allowed to not think so highly of his writings, but you sure as hell can't express that unless its accompanied by a lot of mewling and mea culpas.

Congratulations. Acknowledging a mistake is the first step to recognizing you have a problem. Now, kindly identify how I became "personal in a way that was completely out of line." For your convenience, here are the two posts: Where did I get personal? Where is the "nasty and contemptuous tone"???

SHOW ME how I got "personal". Meanwhile, tell me if these albums Duke Jordan recorded don't fall in the "hard bop" category: Tina Brooks, True Blue Here Comes Louis Smith Dizzy Reece, Comin' On his own Flight to Jordan (particularly his own composition from that album, "Deacon Joe") Watkins at Large Yes, Jordan was a bop pianist. Doesn't mean he didn't fit into hard bop settings.

In fact, if anyone got personal, it was you in your rant about "anti-intellectualism" in which you explicitly put both me and Cornelius down as not "getting" the music if you can't "get" what Larry is saying. What a crock.

Please, PLEASE identify that which is "personal" and "out of line". "convoluted meanderings of one man's guesses"? That I got "not much" and "absolutely nothing" out of his explication of what Mobley is doing?

So, apparently with things you don't care for, things you just don't "get", you manage to write without a hint of personal rejection? You're a better man than I, Gunga Din. And I'd really like to see that sympathetic portrait of Kenny G. ******************* Look, Jim, another HUGE fan of Larry's, gets it that mileage may vary. Why is it that you can't?

Which is fine! Good for you ... but, to borrow a phrase from John Belushi, "EXXXCUUUUUSE MEEEE" if I don't "get" anything from Larry, for it has nothing to do with "anti-intellectualism" and has everything to do with a belief that there's "no there there" just a lot of one man's guesses, suppositions, and impressions. Born of years of listening? Yeah, but so what?? That makes his opinion more valuable than someone elses? Lowe, you act as though Larry's opinions are precious, and his approach impeccable. They may be to you but that doesn't make it so.

IMO, Jazz hardly needs the convoluted meanderings of one man's guesses about what an artist does or what motivates him or how he goes about his work. Its one man's opinion and just because you think its spot-on doesn't mean it isn't utterly vacuous. If the fruits of his great intellectual efforts give you some great insight into the music, great. I get mine from within the grooves. Look, nothing I've seen Larry write here made me think I would get anything out of his book, and Cornelius' lengthy quote confirmed it. That's why I asked for the Morgenstern book for Christmas. So shoot me.

And if he kept that pace up, day in and day out, a new champion would be crowned in just a bit over 5 years!

And are you actually in school?! Yeah, we should be cross-tabulating the times he posts and the school day. Methinks we're encouraging delinquency ... or at least a general failure to pay any attention to his teachers. As far as couw's poem goes, are you sure the translation isn't: "Hot fun in the summertime"?

I want to thank Cornelius for his extensive quoting of Larry's work, and Larry for attempting to clarify his opinions. As I read the lengthy excerpt, I was left thinking: What the hell does this mean? and Is there anything here that illuminates a single thing about Mobley's playing that I don't already get from the music itself? The answers I am left unequivicolly with is: Not much and Absolutely nothing. I now know beyond a shadow of a doubt that, for me, I am missing nothing by not running out to buy Larry's book. Your mileage may vary, and hey, if you get great insight from his work, more power to you. But for me, Larry's ramblings epitomizes the old cliche about "writing about music is like dance about architecture."

Thanks, Dana, for a BFT that I have set a personal mark on: 4 tunes identified! Track 1: Track 1 here. I can just imagine how Big Al's jaw hit his lap when he heard this one. Definitely a heretofore never seen coincidence. As for the music, kind of generic soul jazz/hard bop, another Son of Sidewinder ... but I dig it. Track 2: I instantly had a feeling about this one and a quick check confirmed. Track 3 here. Track 3: Watermelon Man, but God knows who's doing it. Not my favorite rendition. Track 4: This one sounds awfully familiar, but no guesses. Track 5-7: No guesses, and you can keep #7. 8 was another familiar melody but no guesses, and 9) was right up my alley, but no guesses. 10-12 Not happening for me. Track 13 Had no doubt about this one. Track 1 here. Track 14: Harmonica-driven "Work Song"? I don't know who it is, but I was diggin' it. Track 15: Very familiar melody again but ... Track 16: The ever-popular Willow, but no idea ... Track 17: I've heard decent versions of this but that wasn't one of them. Track 18: This one was so obvious, that Mrs. Gene Harris Fanatic heard the first few notes and said, "Isn't that ...?" I had an idea that it was probably from a domestic CD issue, and maybe one that not so many people have, since it came and went in the early 90s. Track 7 here. Track 19-21 can be summed up with one phrase: WTF? So, definitely a mixed bag for me. I certainly dug the four tunes I got, and there were a few others that were OK, but there were also a lot of not-doing-anything-for-me tunes, too. But thanks, Dana, for grooving a couple of batting practice fastballs for me to smack out of the park!

This may be delayed while I work on the 6 minute version for one of our members. The Diz/Bird material is only a little over 40 minutes, >>>> ok, 40m. that's still a lot less than the amount released on philology a couple of years ago. can you point me to that 10 page thread chuck? half of the people here are excited only because it's on uptown. wow, uptown. bfd. i heard the mingus uptown, it's a novelty, and not much more. you want to be a hero? release one of the harder to find 1964 mingus european concerts. but i will admit that 40min of new parker is my cup of tea, to quote the english. "Excited because its on Uptown"??? What the fuck is that? Who the fuck has said that?? People are excited because, as described by Jim in the first post of this thread, this is a never-before heard performance that is, if those who have heard it are to be believed, amazing. Can you say the same thing about the Philology releases? And last but not least, before criticizing "ten page threads" about something you think is pedestrian, you might try bearing in mind that this is material that we've had advance word on for quite some time, so the discussion, anticipation, requests for updates, etc., might produce an especially long thread due almost entirely to the wait we've had to endure.

That's a very good record that I have on LP only. Has it ever been issued on CD? I have it as a British two-fer CD reissue, but it came out in the OJC series: Workin' Out

Richard Nixon and Leonid Breshnev's work in this area is unparalleled.