Pete C

Neither. I'm pretty sure that. spelling notwithstanding, it is pronounced Kwinn-uh-SHAY, Monsieur Storaire.

Yes, it rhymes with Linus. James Williams named his concert production organization Finas Sounds in honor of the proper pronunciation of his mentor's name.

I don't think 30-second sound clips that one can find on Amazon, etc. is any sign of an iminent pay site. If they did become a pay site I'd hope they'd pay their reviewers.

Seems a reasonable guess.

Have you ever been to the Monterey festival? There's a guy named Pat DuVal who's there every year selling KILLER ribs.

If anybody else did play their compositions--Grachan Moncur III & Henry Threadgill. Booker Little too. How come nobody ever does those Moncur tunes?

An aside--Mingus did an interesting arrangement of B&S for the Hampton band in the 40's that exists as an aircheck. The same chart also appears in Epitaph, and I think the Town Hall concert. I don't remember offhand whether the reharmonization of the piano solo is related to that version.

I always wondered about Barre Phillips until I heard him pronounce it: Bar, plain and simple.

Yeah, John Hebert is definetly an up-and-comer. I first saw him in several gigs with Kenny Wheeler & Andrew Rathburn, then with Hill. I think all may have been last year, and I hadn't heard of him before then. I wonder if Colley going off to work with Hancock led Hill to find Hebert.

Tom Rainey is amazingly active in NY. There are times I've seen him with three different groups in a week in NY. There are a cluster of venues that "downtown" types play regularly--now that Kintting Factory is dead as a jazz venue, the spots are Tonic, Cornelia Street Cafe, 55 Bar, Barbes, and the Sunday night series at CBGB's lounge. The bass player's name is John Hebert. I just saw him on Sunday at CBGB's in a quartet with Sam Bardfield, Michael Attias & George Schuller. I've also seen Hebert with Kenny Wheeler on several occasions.

Plus, there are no commercial releases of Bluiett's short tenure with the quintet.

I read somewhere, I think in the liner notes to a Miles album, that in 1965 Herbie took a quartet to the Left Bank in Baltimore that was the Miles rhythm section plus Sam Rivers. I wonder if the tapes exist, as so many from the Left Bank do.

New Yorkers can catch Don Friedman with a trio on April 5 at the Blue Note. Cover is only $10.

The fact that the Blue Note sucks might be part of the answer. The prices are astronomical, the food is as bad as it gets, and they pack patrons in like sardines. On top of that it's a relatively large club. I can assure you Silver would sell out the Vanguard easily for a 2-week run. Next time Silver plays the Blue Note the cover is $35. Add to that a minimum, tax & tip, and you're talking at least $50, more likely $60, for maybe 75 minutes of music. I can't do that too often.

Better than ever. I live in Brooklyn (Park Slope), and in addition to all the Manhattan offerings, I now have 2, count 'em, jazz venues I can walk to: Up Over Jazz Cafe (generally straight ahead), and Barbes (eclectic programming, but especially great avant series programmed by Michael Attias on Wednesday nights). http://www.barbesbrooklyn.com/calendar.html

Phenomenal. The video is called "The One Man Twins." Rahsaan, like Sun Ra and the Art Ensemble, had to be seen to get the full effect.

I got to see that great band twice, and I saw them both with Mingus a number of times. It's amazing how both matured by leaps and bounds during their several years with Mingus. Both were accomplished musicians when they joined Mingus, but they really developed their lyrical sides with him. Incidentally, I wonder if the first set of the Mingus at Carnegie Hall concert in 1974 will ever see the light of day (I was at that show). It was a quintet set (Adams & Bluiett in the front line) before the jam session that was released. http://www.jazzdisco.org/mingus/dis/c/#740119

That's how it was in NY last summer. The way it evolved, according to Ornette, was that it was originally a trio with Falanga. Greg Cohen wasn't even listed in the program at Carnegie Hall. Ornette had just been introduced to him days before the concert, and fell in love with his playing--he told the audience it was "a marriage made in heaven," and that it freed up Tony to play more up front. I found Ornette's playing extremely lyrical in this context. There was a rumor that the Carnegie Hall concert was recorded, and I also heard that the group was subsequently in the studio.

This is not uncommon. When an "out" artist appears at a major concert hall, it sometimes brings out a "culture" contingent that is not familiar with the music, especially if the artist gets press hype. Then they discover that Ornette is Ornette, and not Wynton Marsalis or Oscar Peterson. Stuff like this happens at Lincoln Center all the time. A friend of mine told me about a strange double bill at Carnegie Hall some years ago--Oscar Peterson & Cecil Taylor. Oscar went on first. About 15 minutes into Cecil's set, the house was half empty.

When the f is Sinesio going to either release those Horos on CD or lease them to someone who will?

I'd consider that high praise for your taste and for Booker.

You'll definitely want the Space Book & The Freedom Book, with Byard, Davis & Dawson. The album that has been released as "Sounds of the Inner City" by Booker Little and Booker Ervin is a killer. It is actually a Teddy Charles group, and was recorded at the Museum of Modern Art sculpture garden, I believe. But I'm also partial to his funky stuff with Don Patterson. And his brilliant sideman offerings with Mingus (especially Wonderland) and Weston (especially Monterey '66). And Waldron's The Quest. And Roy Haynes' Cracklin'. One of the most individual tenor voices of the '60s, it was perhaps his in-betweenness that kept him from getting the attention he deserved. His early death didn't make it any easier.

I'd bet the Lacy vocal feature was "Devil Blues." Sipiagin really has a beautiful sound.

Is anybody familiar with this obscure session? Mal Waldron Trio Mal Waldron (p) Giovanni Tommaso (B) Pepito Pignatelli (d) Munchen, West Germany, May 30 & 31, 1966 Steady Bread Karim KLP 14 Blues for Picchi - Rosa - Marco - For Bob - Theme "The Coureus" - View from St. Luca - Chim Chim Cheree - Dock Scene - Speedy - * Mal Waldron Trio (Karim KLP 14)

Would Hampton Hawes' "The Seance" count as a relatively progressive date? It definitely counts as a great date. There's certainly lots of great Bley trio recordings from the '60s. Among others, Footloose, Touching, Closer.