clifford_thornton

Haven't seen this yet. Do tell. Oxley was into some very cool shit in the '70s...

I like Embryo's Reise also; it's later, but strong in the "Ethnic jamming" category. The new one that puts Embryo and NNCK in the same studio is good, too. I had some weird private thing that was housed in a cardboard box - think it was late '70s - that was pretty interesting, too. It's not mentioned on the "review" site.

Mal Waldron - Spanish Bitch - (ECM Globe/Victor Japan orig) Great 1970 trio with Fred Braceful and Isla Eckinger!

Brain farted and I lost track of exactly how many Deccas there were... I did have one on Contact (? Swedish '70s label) that included a choir. I believe it was reissued later on Soul Note, and for whatever reason, it didn't grab me very hard. With the option of a cheap SN twofer, I may just have to reinvestigate.

Masahiko Sato - Palladium - (Toshiba Express reissue) Solid '69 trio w/ Masahiko Togashi on drums...

Jackie McLean - Right Now! - (BN Liberty stereo) Yes, I bought it SEALED!!! (see most recent eBay madness post), for $20.

Ugh...

Good point, and one I hadn't thought about.

I don't have the Decca, but would like to... The Riverside and RCA LPs have given me many hours of enjoyment. However, after the Saba sides I do lose a bit of interest.

I'd say those are the highest prices I've ever seen on any Ogun...

Chris McGregor Solo Keith Tippett on Ogun Tern The ridiculousness on some free jazz titles never ends...

Chuck did point out in another thread that all Impulse! studio recordings were done in stereo, and mono LPs are "folded-down" from the stereo version. To get the natural Impulse! sound, one should stick to the original stereo LPs. I have some mono Impulse! LPs and they sound good to me. All were cheaply procured.

I didn't like it much when it came out, partly because the promo I received mentioned nothing about its "homage" to Coltrane, and I thought it seemed to be recycling timeworn phrases and ideas. Yet, even considering that its heart in the right place, what stimulated me the most was Rubalcaba's playing. The rest of the band wasn't doing much for me.

Masotti's photos are something. Thanks for the insight.

I actually like the Jazz Realities stuff with Bley, Brotzmann and Kowald. The recording I have is pretty shitty, but the music opens up into some interesting (and very intense) areas. It certainly doesn't sound like the Fontana LP!

How is this? The actual soundtrack for "A Patch of Blue" is often listed as a favorite by Jerry Goldsmith fans, but it's never done that much for me. It's a great session. Well worth while. It strays rather far from "program music" or a "concept record," and the rhythm section of Bob Cunningham and Roger Blank give it a tighter groove than some of Dickerson's other sessions from the period.

Jim, have you heard him on Paul Motian's albums (Conception Vessel and Tribute)? I feel like he's better utilized on those. That said, there's one really cooking track on Keith's Expectations ("Roussillion" or "The Circular Letter") where he solos over a burning Motian-Haden rhythm section, it's fantastic. Guy Conception Vessel is a GREAT record, both the Jarrett and Sam Brown contributions certainly help that. Ditto Leroy Jenkins (RIP) and Becky Friend... Edit to say: which of the "freer" Jarrett American 4tet recs would you recommend?

Happy Belated! Hope it was a good one...

Happy Birthday E, and spin some Zitro!

Peacock was also on the Lasha-Simmons Contemporary date The Cry, though that's more freebop than "free." I'd also bring up Bley as another regular Peacock associate during the mid-60s.

I'd like to year what you could do in another environment, too!

This might sound like a cop-out re: Peacock, but if you played in the early Ayler groups, what else is there? I too remain unconvinced by much Holland's done in recent years, "nice" as it might be.

Think I GAVE mine away...

Nakatani and Don Miller would be pretty good in and of themselves...