Always liked it, though it's been a few years (at least) since it's been on the turntable. Honestly, to me it swings pretty hard and is melodically inventive - especially among Ornette and Dolphy. Even though the group didn't perform, I would be curious to hear what the version with Bobby Bradford and Steve Lacy would have sounded like!
Ascension is one I've also logged a lot of hours with, and I dig it very much - more for the soloing than the collective screams.
Huh. I don't smoke anymore and am not that into being high as a concept anymore, but legalization (or at least decriminalization) is the way to go.
I also think other drugs should be decriminalized, but I realize that's a minority view.
Yeah, he did pay for the studio time and leased the master to Savoy for $1/year, IIRC.
Assuming he got it back towards the end of the '60s, from what I understand a storage space containing a lot of his early tapes was lost. So it could be gone. It's a very good record although not entirely indicative of the direction he'd go in the future.
Would love to see a folio of all the different cover paintings that one has.
Couldn't find an image that even looked close to my copy.
Yeah, mine is pink, purple and blue with bits of newspaper painted over on it. Pretty nice.
Now:
Lee Konitz - Jazz a Juan - (Steeplechase) w/ Solal, Humair, NHOP
Yeah, The River is a beautiful album. Orange Fish Tears, too.
I'm surprised that the Ran Blake and Karl Berger titles weren't reissued as OJCs; I assume all the Milestone Konitz titles were.
OK, I'm listening to this reissue LP now after a long and boring day at work, so my judgment might be clouded. BUT...
He's certainly got that Rollins/Ayler/Shepp thing going on in terms of tone and little phrase bubbles, but his rhythm and ideation isn't all that confident. He sounds like Marzette Watts before he got his shit more together (which probably isn't saying much).
The rhythm section pretty consistently keeps a very, very conservative backing groove the entire time, which isn't all that easy I suppose given Gore's very isolated sense of where he is in the tune/improvisation. They tend to drop the time at some of Gore's more unpredictable flourishes. The best thing about the music is Lamont Hampton's conga playing; he's pretty strong - worked with Noah Howard some in the 70s. The acoustic piano is pretty out of tune (venue) and there's a long bass solo on the third track where it seems like the cat completely forgets where he is. The best track is the first piece on the flip where they're playing a little more open and there's less of a chance to fuck things up, but they're still out of tune.
So, pretty amateur shit that on a better day might have its charm - might be fun to put on in a nuJazz DJ set to mess with people - but I can't say it's something you need to rush out and buy. There must be some redeeming quality that made me keep it for two years after buying it, but...