AndrewHill

I guess I got shuffled in with the spam/weirdo stuff that you denied I sent another friend request, I'm Big Tuna over there. Thanks! HG

How Time Passes and Essence

As for sideman dates, I think I have Ellis in two places. One is Vintage Dolphy where, if I remember, he is part of a bigger band backing Dolphy, although his solo definitely stands out from the other trumpeter. The other place is on a two cd set called Jazz Loft (which comes with a pretty nifty book) and there he is involved in just one jam session (It Don't Mean a Thing...) where I recall him being featured more prominently. Would like to check out those Russell dates though.

That's exactly how I got into Ellis's music. I first started with How Time Passes, which is a great album (I even like Jaki on alto sax...a peculiar, yet interesting style). Then on to New Ideas. I completely agree about Al Francis, that dude can play! Very nice album all around. Essence, though, is incredible! Bley and Peacock are on the case and I never thought I say this, but man can Peacock swing! Essence is probably my favorite of the small groups (I have not heard Out of Nowhere, any thoughts on this one?) Then I went to the PJ big bands. Monterey, in so many ways seems more satisfying then Jazz in7/2/3//4 (or whatever it is). I have not heard the Columbias, but it seems that Electric Bath is the next logical purchase.

Very Impressive. Sent a friend request too.

Great Cover! Everytime I look at it, it conveys an air of seriousness...until I read the album title! Hysterical!

Great One!

I wonder if they celebrate birthdays on his planet? Happy B-day nonetheless

Here's what I have: Music from Tomorrow's World Spaceship Lullaby Piano Recital Strange Celestial Road Sun Song Destination Unknown Sunrise in Different Dimensions Heliocentric Worlds, vols I and II Fate in a Pleasent Mood/When the Sun Comes Out When Angels Speak of Love Atlantis Greatest Hits Planet Earth/Low Ways Sound Sun Pleasure Jazz in Silhouette Spaceways/Bad and the Beautiful Supersonic Jazz Nuits de la Foundation Maeght vol II Hard to pick favorites, but I gravitate to the Chicago era most, then probably the NYC period next. Lokking forward to Strange Strings.

RIP. Like his contribution very much on both McLean's LFR as well as Hutch's Stick Up.

Grachan Moncur/Blue Mitchell- Some Other Things to Do Donald Byrd Casino Twofer- Royal Flush/Blackjack Byrd/McDuff-I'm Tryin to Seek a New Home Herbie Hancock-Don't Speak to Me Like a Child Wayne Shorter- Et Al. Brother Jack McDuff's Rejected James Bond Sountrack- Moon Rakin' John Patton- Accent on the Booze

Stanly Turrentine Combo- Look Out! Comin' Your Way!! Horace Silver/ Dexter Gordon- Doin' the Thing Alright Dexter Gordon/Leo Parker- Dexter Callin'...Let Me Tell You 'Bout It! Leo Parker- Rollin' with the Homies Jimmy Smith plays Fats Domino Art Blakey- Orgy in the Livin' Room Holiday for Skinny Dippin' Solomon Ilori- Miller High Life Hank Mobley- No Room For Your Fat Ass

Some more: Freddie Hubbard- Ready for Spaghetti Art Blakey-Candy Caine Paul Chambers- Grace on Top Wayne Shorter- DooDoo Horace Silver- The Styings of Horace's Hair Curtis Fuller- Bone, Thugs and Harmony Sonny Clark-Sonny's Bib Clifford Jordon- Space Craft

Freddie Hubbard- Fuckin' Up Open Sez' Me Andrew Hill- Fed Ex Ships Paxil Forest Fire Obsessive-Compulsion Jackie Mclean-Shwing, Shwang, Shwingin' Hank Mobley- A Swami for Mommy Baby Face Willette- Stop, Drop and Roll Ornette Coleman- The Empty Asshole Lee Morgan/Art Blakey- Delightfulee's Delight

Ornette Coleman: Booty Call LMFAO!!!

I just spun this one this morning, and its badass. I only own four cd's by Lacy (wish I had way more than that): The Forest and the Zoo-Don't recall anyone talking about this one in this thread (I'm sure I missed it somewhere, or someone will bring up where it was discussed). Along with NY Capers and Quirks, I enjoy this one the most. Great lineup with Rava, Moholo, and Dyanni. And surprsingly good sound for an ESP (I have the Italian Abraxes CD edition) Wish this one was longer. Moon-some people mentioned that this was not their fav, and its not mine either, but I like it enough. It fits right in with the BYG Actuel experimenting atmosphere of the late 60's. I have the cheap-looking, flimsy CD mini LP replica from sunspots, but it at least reproduces the original gatefold sleeve which has some pretty cool pics. NY Capers and Quirks-Kick ass. Actuality- Superb solo disk, besides Brotz and Braxton, not too many reedsmen can hold my attention through an entire solo record. Remarkable performance. Would really like to get School Days next.

I can't get enough of AB, and as mentioned earlier, the good and the bad. For example, The Braxton House 'Music for Puppet Theater' is pretty unusual, but I still find it interesting.

I think its great! [/quote/] I'm with Sal. I like this one too.

I think Braxton's a genius. Along with Brotzmann and Sun Ra, I will buy without hesitation any titles that I don't own by him. My humble collection consists of: Saxonphone Improvisations Series F- America-Universal Reissue Seven Compositions Trio-1989- HatArt Dortmund Quartet 1976- HatArt Eight (+3) Tristano Compositions-1989- HatArt 4 (Ensemble)Compositions-1992- Black Saint Composition No 102 (for Puppet Theater)- Braxton House Sextet (Istanbul)-1996- Braxton House Actuel 6- BYG-Fuel 2000 Reissue Victoriaville-1992- Victo For Alto- Delmark Forgot One: Duets-Vancouver 1989 (w/ Crispell) -Music and Arts

Lewis blew me away on Dortmund '76. That band with Holland/Lewis/Altschul was a mofo.

That's got to be one of the most out jazz organ solos I've ever heard. Herbert Morgan was another surprise. Enjoyed him on Of Love and Peace.

Its Julius Watkins and James Spaulding though -_- .

Jane Getz is indeed a fine player. Nothing really flashy but a solid player nonetheless. I'm also a fan of both of Sonny's ESP's, especially the first one. Manhatten Egos is another favorite along with the Contemporary's of the early 70's. Barbara Donald's contributions are rather valuable in their own right.

You think so? I don't hear it that way at all. I hear it as a typical "practicing" jam session, the kind that's different from the staged public kind. I hear Pharoah ebbing and flowing in terms of inspiration, playing through it all. It's the way real jam sessions sound. As for the band, Jane Getz is no slouch, even if she's no Titan either. The rest of the band is jam-session caliber, I think. The difference for me is that everybody was more or less on the same page. Pharoah in 1964 was not the Pharoah of a year later. Ayler, otoh, was aready someplace else, far removed from his what his accompaniment could even begin to think about. I understand what you are saying, and agreed, Ayler was way ahead of Pharoah, but I see these two sessions as being identical in terms of circumstance only. With Ayler, NHOP was on bass, who I don't consider to be a slouch, but he in fact played pretty much inside on that date. And on the ESP date, Jane Getz may be a key player, but she was pretty much playing inside too (as I think she was on the Mingus live date as well). My only point was that there are two players that were pushing ahead, and they were stuck with forward-thinking bands. The only difference is that Ayler and Pharoah recorded about two years apart. Ayler though, as you indicated, is in another bag, and that bag I respect tremondously. Pharoah had his work cut for him and he too was trying to push out, but he was stuck in a similar circumstance as Ayler, it just happen that Ayler was stuck with a similar band just two years prior. Well see, I don't think that Pharoah thinking at the time of this date (Sept. 1964, right?) was as fully formed as Ayler's was. The guy's plaing changes and he sounds like he's into playing changes. You can hear him working on shit as he goes along. You wouldn't be doing it like that if you were totally convinced that it was going to be a dead end. Sure, he no doubt had some other stuff going on at the time, but his approach here tells me that he had not ruled out playing changes as something that he was going to continue to do (and in fact hasn't done, although that's only obvious now). Ayler, otoh, was fully convinced that his way was going to be it for him. You can tell right away that playing chages is something that he is so not going to be thinking about, much less actually doing. He's fully gone from that way and has made a full committment to his way. To me, that's the difference. Another way to look at it is this - if Pharoah hadn't have gotten the gig w/Trane, how would he have been playing in 1966? Of course there's no way to really know, but the depth of his commitment on the ESP side leads me to wonder if maybe, just maybe, the platform of the Coltrane gig, and all that it entailed, forced the issue for him in a way that it might not have otherwise been forced. Pure speculation, that is, but... Ok, I listened to both My Name is AA and Pharoah's First today and I see the point you're making. The similarity that I was bringing to light only concerns the rhythm sections and not the leaders. I guess the way I see it is that Albert's band was really not prepared for something of that caliber, nor do they seem convinced of his new brand of music; whereas Pharoah's band was just simply trying to play as out as they possibly could, although it seems that they were not completely comfortable with the circumstances, especially Stan Foster (surprisingly, Jane Getz seems to embrace the moment). Hence, Ayler's band seems baffled in the implied sense, whereas Pharoah seems to be just downright fustrated with his band. Regardless, I like both of these albums quite a bit and I wasn't trying to say that they are the same musically speaking. I think though that both Ayler and Pharoah were trying to do their own thing and were met with largely unresponsive rhythm sections.

Huge Hold'em fan. In fact, I'm going to Vegas to watch the WSOP main event this July, although if I had 10k, I'd be playing in it. I know this is 8 pages in, but I'll just say that I've played only local games and that's about it. My favorite poker pros are Ted Forrest, Phil Ivey, Daniel Negreanu and Scotty Nguyen. Anyone else going to either play/watch the WSOP?