Spontooneous

To the poster who didn't like "Hoedown": Listen again! The way it sets you up for something corny, then smacks you in the face with things that are definitely NOT corny, is masterly. And the finely controlled rage of the tenor solo is amazing. (Check what Sangrey said about swinging by not swinging.)

Now Tommy, just because Jimmy and Chucky and Pauly have jumped off the cliff, do you jump off the cliff too? (My second-grade teacher was fond of saying this.)

There won't be a press release when he's cut from Blue Note for the third time.

In that case, I'll be sure to pick up the first used copy I see.

Please, please, tell me this isn't another Universal Music "street team" incursion.

The endings of both those pieces are absolutely joyous. There's some darkness along the way, but the endings are pure sunlight. For me anyway.

My Lucky Thompson CD called "Good Luck in Paris" (JazzTime 827217-2) has a cover photo of Don Byas, not Lucky. (Don't have a scanner; otherwise I'd post a copy of this.) I've seen a CD of performances by the stride pianist Joe Turner illustrated with a photo of the blues shouter Big Joe Turner, but this one isn't in my collection. And I just saw a disc of a Bruckner symphony illustrated with a photo of Brahms.

"Trident" sounds like crap to me in either format. Perhaps they were experimenting with a fiberglass piano and drums made of congealed dairy products.

Another big welcome back to Clem, whom I've missed. Send more dispatches from Gritsville! **** This thread has me thinking, what's wrong with me? I don't hear a lot of this music as particularly dark. Not Feldman, not Webern, not "Verklarte Nacht mit umlaut." Nor most of Varese. But yes to Pettersson and Zimmermann, as Clem said. The Seventh Symphony and "Tapiola" by Sibelius scare the crap out of me, because they sound like a human being shutting himself off from the world. That's dark.

Was in a strange city in the middle of Kansas the other day. Walked into the small local record store and walked out with an inexpensive copy of "Grayfolded." I haven't been able to listen to anything else since.

My birthday is shared with Kevin Mahogany. Also with Henry Ford and Osama bin Laden. Kevin and I aren't anti-Semites, though.

You sure it wasn't Marianne Moore instead?

They did a very nice Spotlite LP backing Jack Walrath. Title is "Killer Bunnies."

Currently listening to a download of 2-14-68. ALL the "Anthem of the Sun" tunes live, and some pieces of this "Alligator" seem to be on the album. An unbelievable show. Highly recommended to all.

I've heard a pretty good-sized bunch of under-30 tenors who take after Joe Lovano. I've also heard a major alto saxophonist whose name you've all heard complain that there were too many young Lovano imitators out there. Stump Evans rules. (I live about 40 miles from where John Chilton says he's buried. I need to locate that grave some day.)

And now, a short and far from complete list of artists who were pushed off Columbia yet were not pushed into a "death spiral": Charles Mingus, Ornette Coleman, Bobby Hutcherson, McCoy Tyner, Cedar Walton, Benny Golson, and several guys named Marsalis. After Columbia, Woody landed at Bruce Lundvall's Elektra/Musician, which had great distribution and pretty good promotion. The "death spiral" thing seems over-the-top.

I always wash after I post here.

...or maybe the Smegmatics.

While you're at it, Tom, see if you can arrange for an article in the paper!

If I were McCoy Tyner, I'd have tracked down the guy who introduced me and slapped him.

Didn't see the whole thing, but... I was most taken with Terence Blanchard's spot. Wynton acolyte Irvin Mayfield's spot was raw and passionate. I liked the Marsalis "family" spot with Ted Nash on tenor. Wynton behaved himself on this one. The Jon Hendricks and Paquito spots were a lot better than OK. But the Wynton-as-King Oliver spot creeped me out. Still, the highlight of the evening for me was the speech from Danny Glover and Harry Belafonte.

There still ain't ANYBODY who can make barlines disappear like the Pres.

My memory is that "Remember Me" was more even in its quality. Still, the title cut of "What's Goin' On" sticks with me more than anything on either disc. But it's been a while since I've heard them. Won't have time to re-listen this weekend, alas.

Never less than pretty good. The version of "What's Goin' On," in 6/8, arranged by Harold Mabern, is an absolute burner.

You'll also want "Change of Season," also on Soul Note, by four-fifths of the same group (different bassist). All Herbie Nichols tunes.