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Thanks, Lazaro. I was wondering how long it would take for somebody to agree or disagree. I was listening to it quite casually when the notion hit me, about eight bars into the form. And I didn't hear anything after that point to dissuade me. The whole form is there pretty clearly, it seems to me. I'm ready to make a "Hawk Plays Monk" compilation CD with this one, the "I Mean You" with Fats and JJ, and some Riverside tracks.

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More good Richard Williams on: Oliver Nelson, Screamin' the Blues A Red Garland quintet date for Prestige A Jaki Byard Prestige date Duke Jordan, Duke's Delight Some brief Richard spots on Randy Weston's Uhuru Africa (in the Mosaic Select) and Clark Terry's Big Ba-a-ad Band Live at the '74 Wichita Jazz Festival.

Una mas: Coleman, Dorham, Mingus and Roach at Cliff Walk Manor...

The famous pic of Monk, Parker, Mingus and Haynes (sorry I couldn't turn up a better scan quickly). Suppose THESE four guys had decided to form a working group and call it the Modern Jazz Quartet....

I really enjoyed their "Simplify Your Life With Brian Ferneyhough."

And Stump Evans, on those great Jelly Roll sides.

Fer cryin' out loud, people. Gryce! Gryce! Gryce!

Me for Bartok, Shostakovich 1, Carter, Schoenberg and the Bridge "Phantasm." Overlooked gem: A brief concerto by Willem Pijper. Sounds kind of like the Ravel Concerto in G, though more compressed and less fizzy. Pre-dates the Ravel by a couple of years. Another overlooked one: Aaron Copland's. Another: Martinu wrote five piano concertos, but the Fourth is the one that really sticks with me. Una mas: Symanowski's Fourth Symphony is a piano concerto-lite in disguise.

Two Jarretts I wouldn't be without: "Belonging." I really love the European quartet. Maybe I'm crazy. "Dark Intervals." An ECM solo disc that gets overlooked. Very intense -- and, yes, darker than most Jarrett.

So is "Gesualdo for Lovers."

I think Knepper was in Claude Thornhill's band about this time. That might have influenced these things too. (A friend of Free For All and me, Arch Martin, was the other trombone with Thornhill. The section had two trombones and a french horn, he says.)

Ack! Now I have to go get some Niehaus records. Darn it, Larry!

Just four here. See y'all. It was real.

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A local store didn't recognize the artists' names on these, so they failed to jack up the prices as they would for a scratched-up "Sidewinder" or "Miles Ahead". Therefore, for $3 apiece, I just acquired lovely copies of: Moods for Girl and Boy, Harry Carney The Unforgettable Guitar of Hank Garland

That's a stumper. Maybe Eric Schneider? (I almost said David Schnitter, but he's got a new album...)

Jackie McLean? (If not Red Rodney.)

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Rooster Tom's gonna hurt me for this... Joe Henderson. His solos on the Blue Note classics struck me as abrupt, abrasive and short-breathed when I first heard them. Only later did I come to the heart and the humor. (P.S.: "Point of Departure" isn't a very good way to sell Andrew Hill. "Black Fire" and "Shades" are the ones that got me.)

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Sorry, it doesn't scare me nearly as much as Jimmy Clanton's hair did.

That's the he and the she of it.