clifford_thornton

Hutch took a detour pretty rapidly, at least a detour away from my personal tastes... seemed to have something to do with playing with pianists, rather than against them. I'm really getting to like Khan Jamal - though he certainly falls outside the timeline set by this poll, as a direction inside and outside with the vibes, he's really someone who walks the line. The Revolt of the Negro Lawn Jockeys, with Jemeel Moondoc, is like a freer version of McLean's mid-60s work and should be heard by everyone on this board with line-blurring tendencies.

I am pretty sure that came out on LP as well as CD. Soul Note was producing their titles on vinyl up to around 1990, maybe later, and many you can still get with ease.

I voted for Black Fire - Henderson really gets those harmonies right on. Never got that into Compulsion or Andrew!!! - too distant in approach - but as Chuck would say, "I suggest you try again."

The what option?

Well, if you forget about those little coaster thingys, it is rare!

Apparently Jack Bruce is on this rare Brit inside-outside piano trio from '67 (as is Hiseman), playing contrabass I presume:

Sidewinder needs to be on this thread... he's pretty hip on Winstone.

I think they sound nice; I don't get a digital "feel" from them at all, whether or not their initial mastering is digital. The Kings are better, for sure, but these sound less like CDs on wax than some previous (GRP for example) reissues. Also, pretty sure some of those Toshibas are pre-2004; I know I was buying some before that, though who knows if the mastering is any different on those.

No doubt. What the hell happened to Augustus? What happened to him? I was wondering more where the hell they found him!

The Waldron-Lacy is great, actually. No problems there. Also, it is rather well-recorded, a touch above some of the others in quality (it IS a studio date, after all). The Thornton, Certain Blacks, Emergency and the Wright are all other favorites of mine, as are the Rudd and Shorter. Of those, the Emergency has the most "misses" but that's part of it's charm. I've never been that fond of the Burrell, though I like a lot of his other work. With the first piece, I kinda wish they had faded out the piece after the mandolin-cello duet, which is the high point of the record for me. The stew after that is unnecessary or should have been edited down. But who am I to say?

A lot of what retired van Vliet was illness - he has MS, if I am not mistaken.

I saw Jandek this weekend in Houston, sitting in with Alan Licht and Loren Mazzacane Connors. Better when he played harmonica than when he fooled around with an electric bass, that is for sure.

Wonder how the recent Toshiba Japanese pressings compare? They're priced about the same.

I'm with Jim.

Five is rad-looking (especially the embossed UK sleeve); I've always liked side two over side one as Marshall seems a bit stronger support. Yeah, the abrasiveness of Dean and Ratledge on some of those live dates is pretty ear-splitting. Some of that had to do with experimental contact mikes Dean was using in the saxophone, which created a real tinny buzzing sound. Yuck. And if Ray Russell can't add anything to the music, you're right, it must be inherently flawed. The records he cut for CBS, RCA and Intercord are all absolutely insane and wonderful. Not so sure about his later more sound-library affairs.

I traded a NY USA Stereo of that Hubbard long ago; remember liking it, but not as much as Open Sesame! Maybe now I would change my tune, however... That is probably my favorite Andrew Hill record, by far!

Google the title with the phrase "CD" in it and see what comes up, I suppose, if there aren't already detailed discographies posted.

Google the title with the phrase "CD" in it and see what comes up, I suppose, if there aren't already detailed discographies posted.

Tes Esat is majorly heavy, but I agree that conceptually it has almost nothing in common with the Verve date. Still, that Windo-Augustus duo that takes up a chunk of side one is absolutely insane. I think as far as drummers go, he's actually more integral to the 'success' of the record than might be first let on. His sense of rhythmic suspension holds the music wonderfully taut, even as the proceedings seem to be beyond control. The Panther and The Lash is a motherfucker, probably next to the JCOA my favorite... uh... CT dates. I like all the Americas, but I am a bit surprised that they only chose to reissue one Shepp. The Coral Rock - Pitchin' Can sessions are mighty good, if a bit looser than Black Gipsy or the date with Philly Joe. Think I'm just reposting things I've said before about these, but they are all excellent, even the less excellent ones. Even if they were the "cheapo" alternative to BYGs when they came out in the '70s, I think a lot of the sessions jell a bit better than the Actuels.

HB!

Sometimes I feel that way about the Softs, too. Ray Russell is for me never a deterrent...

Those Americas, Blue Bird and Pithycanthropus Erectus, are actually pretty damn great. The title track to the former I used to spin all the time...

I claim no allergy to that shellfish!

Ornette and Lacy would make for an intriguing combo, whatever the rest of the band...

Happy Birthday Ornette! Guess I should swap out this McPhee for some O.C. (Mischa Barton not included...)!