AndrewHill

My wife works there!

Huge night in Cleveland: hosting Detroit in basketball and baseball. Cavs are on top in the second!!!!!!!!!! Yeah and the Indians last night pulling it out in the ninth!! Its great to be in Cleveland!

Looks like Djokovic advances. What a great game that was.

Change that. Sharapova regained control and has won the match.

Peer is very good. Should be a good match. I have six channels of coverage and then it switches over to NBC and as a result I didn't get to see the conclusion of the Djokovic-Patience match. Sharapova is in trouble in the second set right now though.

I'm pretty sure there's no thread on Roland Garros, so...is anyone keeping up/watching the tournament? It looks like there's going to be a possible upset with the Djokovic/Patience match going on right now. Patience is up two sets to one. Djokovic is seeded 6 where Patience is unseeded and he's the only French player left. Edited for an updated score: 7-6 Djokovic, 6-2 Patience, 6-3 Patience, currently 3 all now.

Don't get me wrong, I love 'Symphony for Improvisors' but always thought it was easy listening free jazz! Probably because I got so used to it when I heard repeatedly Don Cherry and the quintet with Gato Barbieri play this every night at the Chat Qui Pèche club in Paris. Never thought I'd see the day where 'free jazz' and 'easy listening' would appear in the same sentence I had some Ornette playing some days ago, and I'll never forget what my wife said when she rounded the corner: " when is that orchestra going to stop warming up and play!" One of the funniest things she's ever said

Glad to get you on Accent on the Blues. THAT is a killer...sit back and let that one sink in for a loooong time. That's a session that, to my ears, just never gets old. Also you mention Minor Move...do you mean Minor Swing on the DIW label? What's the other Patton session you're missing? Minor Swing on DIW (not the Tina Brooks recording, my mistake). I don't have Memphis to New York Spirit. Check the MySpace site again. I just put up a new songclip...Dragonslayer from Memphis To New York Spirit. I think after listening to it you'll have to have MTNYS... MTNYS on ebay Yes, MTNYS is a great album. I saw it closed for $21.50, which is a decent price for this one. I found a copy for $5 at Half Price Books, and funny enough they had Move Your Hand, by Dr Lonnie for $7, which is still in-print. Don't understand the logic at that store, but I'm not going to bring it to their attention.

I would say try the Don Cherry Blue Notes but leave Symphony for Improvisors for last, as I think that's probably the wildest of the three. Wayne Shorter's All Seeing Eye may be a good start too.

Nice one!

If I like something, it doesn't matter to me who made it.

I know pages and pages have gone by, but I just wanted to answer the original question about what recommendations to make from this great label. I have mostly the Hat Hut 'red spine' cd issues. Here's what I have and recommend, although I think these are mostly OOP: Horace Tapscott: Dark Tree, vols. I and II Sun Ra: Sunrise in a Different Dimension Clusone 3: Soft Lights and Sweet Music Joe McPhee: Old Eyes and Myteries, Linear B, and Topology Anthony Braxton: 7 comps (Trio) 1989, Dortmund 1976, and 8 Tristano Comps (+3) 1989 Cecil Taylor- The 8th From Hatology: Albert Ayler-Lorach/Paris Steve Lacy: NY Capers and Quirks I have a question for those of you that own the LP's, and keep in mind that I have not seen the LP covers. Are the Hat Hut red-spine cd reissues, the original LP covers? I don't have scans of my cds handy, but the Tapscott's, for example, have these Lichenstein-like abstract drawings. Even if they're not, these are some pretty cool covers.

Bill Evans/Jim Hall-Undercurrent (especially since they restored the original cover, which is a thing of beauty in its own right) Greg Osby-Channel Three (Matthew Brewer is an excellent bassist) Chet Baker Ensemble/Big Band/Sextet/Picture of Heath/w/Russ Freeman Paul Chambers-Whims of Chambers The Sound of Johnny Smith Guitar Art Pepper-Modern Art vol 2 Suprised to see that Joe Pass's Joy Spring is OOP, now besides the 'best of' package, there's no PJ material available domestically. And Joy Spring wasn't even an original PJ release.

Good call! A big favorite. Yes! You're battin' 1.000 my friend! Absolutely agree on these too! (Although I have the JRVG's of the Fabulous Fats Navarro's, which sound great.)

That one crops up in weird places. Found my copy on Guernsey ! It does! I found a copy at a Barnes and Noble 'cheapo bin' about two years ago for $7.99.

The All Seeing Eye is my favorite Shorter session from the Blue Note era. But I like everything he did for the label.

Found a used cd copy years ago for $2.50 and worth all 250 pennies! One of my favorite Ornette sessions.

I had both Kofi and Fancy Free and ended up selling both. I've never heard Electric Byrd or anything after that. It wasn't that they were bad albums, they just didn't really do a whole lot for me. I do like those first two tracks on Kofi quite a bit, but the remainder of the album just didn't have the same vibe. My favorite albums from Byrd are Mustang and Blackjack.

Yep, raining in Paris at the moment, because the French Open is on rain delay!

Like I said, I wasn't sure where I saw that.

Yes, metaphysics has always been one of the strangest disciplines in philosophy! And the Monodology is no exception. I wrote a paper on Leibniz's concept of a 'monad' and one thing he argued was that the an infinite series of monads leads to God. I argued that this was not possible. On the side, an interesting story is how Leibniz stumbled upon on a copy of Descartes' De Regulae, in a used book store, which was originally lost on its way to Paris!

Floor open for debate on that one. :rsly: Yeah, its a real fine line. Ethically, because there's always the issue of self-interest and legally because of age. I'd still be best that the HS student and teacher keep it as professional as possible, then there's nothing to worry about. -_-

He was drinking heavily, I think, well into the 1980's. If I remember correctly, it was discussed in a 'Night of the Blue Note DVD' like thread (I'm sorry for not posting a link, because I don't recall the exact title of the thread or where its at) and he showed up and sat in the audience completely ripped. It was my impression (again I could be wrong) that maybe he was there to play, but he was too trashed to perform.

I have a 4-disc set of Bach's Das wohl Temperirte Clavier the '48' performed by Colin Tilney on Hyperion, and in the booklet, they explain how they found an original period clavier, tuned to the specifications of the time and played it in a vintage chamber hall. The pics are pretty cool too. I compared this with another copy I own, which does not follow the rigor of the Hyperion and there is a significant difference in sound. Maybe the closet we'll get to hearing what Bach might've sounded like? That's interesting :JSBach wrote his 48 to demonstrate the benefits of his new tuning approach known as the equal temperament (in french, at least...!).(1) That meant any of the preludes and fugues could be played on an instrument tuned that way and sound good, whatever the key...Do you mean, by "tuned to the specification of the time" that Bach's tempering method was not used and the old method of tuning the keyboard specifically for each key was used?Frankly, given the program, I doubt it, but it would be interesting the listen to the differences between the many ways of tuning.Does the booklet give anymore indications about this? (1) I mean the well tempered keyboard Sorry for the confusion. I guess you'll have to excuse my poor choice of words, since I'm not a musician nor a music theorist That said, I was really emphasizing the instrument itself, not the keys the pieces are played in. I pulled out the set though, just to make sure (I should've done this before I typed, but it was buried under a huge stack of cds) and Tilney plays a clavichord (1767) and harpsichord (1764) made by Hamburg builder Johann Adolph Hass for this recording. The booklet also mentions that Tilney performed in the Friends of St. Cecilia's Hall, which is also furnished with period furnishings to boot. When I compared the Hyperion with the other cd I had (it was one of those generic 'weekend classics' sort of cd, which I've since sold, the Hyperion was an upgrade) there was a remarkable difference not only in the sound of the instruments, but also, curiously, the metre the pieces were played in (the Hyperion version seems to be played at a slower pace, where the 'weekend classic' one is played faster. Why that is, I have no idea. Nothing to worry about...Listening to the music is what matters.This Hyperion sounds interesting by the instrument on which the work is played upon, at least. The incredible thing is how these studies which are purely didactical in intention diffuse such strong moods and emotions : great composer, great music! Thanks I checked around to see if the Hyperion set was still available and I couldn't find it at cdnow/amazon market or on ebay. It was printed in 1989, so I'm guessing its not available anymore. A shame, because it really is an enjoyable recording.

I have a 4-disc set of Bach's Das wohl Temperirte Clavier the '48' performed by Colin Tilney on Hyperion, and in the booklet, they explain how they found an original period clavier, tuned to the specifications of the time and played it in a vintage chamber hall. The pics are pretty cool too. I compared this with another copy I own, which does not follow the rigor of the Hyperion and there is a significant difference in sound. Maybe the closet we'll get to hearing what Bach might've sounded like? That's interesting :JSBach wrote his 48 to demonstrate the benefits of his new tuning approach known as the equal temperament (in french, at least...!).(1) That meant any of the preludes and fugues could be played on an instrument tuned that way and sound good, whatever the key...Do you mean, by "tuned to the specification of the time" that Bach's tempering method was not used and the old method of tuning the keyboard specifically for each key was used?Frankly, given the program, I doubt it, but it would be interesting the listen to the differences between the many ways of tuning.Does the booklet give anymore indications about this? (1) I mean the well tempered keyboard Sorry for the confusion. I guess you'll have to excuse my poor choice of words, since I'm not a musician nor a music theorist That said, I was really emphasizing the instrument itself, not the keys the pieces are played in. I pulled out the set though, just to make sure (I should've done this before I typed, but it was buried under a huge stack of cds) and Tilney plays a clavichord (1767) and harpsichord (1764) made by Hamburg builder Johann Adolph Hass for this recording. The booklet also mentions that Tilney performed in the Friends of St. Cecilia's Hall, which is also furnished with period furnishings to boot. When I compared the Hyperion with the other cd I had (it was one of those generic 'weekend classics' sort of cd, which I've since sold, the Hyperion was an upgrade) there was a remarkable difference not only in the sound of the instruments, but also, curiously, the metre the pieces were played in (the Hyperion version seems to be played at a slower pace, where the 'weekend classic' one is played faster. Why that is, I have no idea.