Pete C

I always thought the final Evans trio recordings were so intense and edgy because they were cocaine fueled (though Joe LaBarbera was surely a factor too). I suspect You Must Believe in Spring, OTOH, was the result of some other substance.

In 2 parts: http://www.youtube.com/watch?v=H7DscCT2BYg&feature=relmfu http://www.youtube.com/watch?v=xGHmqE4ft8E&feature=relmfu

& my favorite McCoy recordings are the Milestones with Azar Lawrence, Sonny Fortune and George Adams. He also perfected his very individualistic compositional style during that period, IMO.

There's also a reissue with the original Period cover. I too had it on the Everest series. As a teenager I had oodles of those, both jazz and blues. And you shall.

Fun, but nothing for the ages. Giardullo & McPhee were excellent, but the surprise "winner" was Roberto Ottaviano. Colin, I'll be in Lafayette in a bit for the Festival Internationale. PM me if you'd like to try to hook up.

I saw Joe McPhee last night as part of a Steve Lacy tribute, and watching him I was reminded how much I like his album Nation Time and its mix of all-out energy blowing with a funky rhythmic and ensemble texture, and maybe a backbeat, that differs from the freer context players like McPhee would more often appear in. What else fits into this little hybrid subgenre? Maybe some of Pharoah Sanders, maybe late Ayler on Impulse, some of Shepp on Impulse, Evan Parker's playing with Moholo or Brotherhood of Breath. Also, that rhythmic quality comes across in many dates featuring Steve Reid on drums (with Charles Tyler & Arthur Blythe). Other ideas? http://www.youtube.com/watch?v=YR8Isg0-Shw

There was another very similar story within the last year or two, either a sports figure or an actor who became a prom angel for a handicapped teen. I can't remember the details.

Molly Pitcher Molly Picon Pico Iyer

Did Tyner redeem himself for you with Expansions and the Milestone recordings?

Daddy Warbucks Dan Warburton William Makepeace Thackeray

Non-existent Ayler DVD gets 5* review on Amazon: http://www.amazon.co.uk/Albert-Ayler-Maeght-Foundation-DVD/dp/B00069MOLS

Interesting take. I think an alternative model can be drawn from Shepp's '60 live recordings (Donaueschingen & San Francisco), which modulate all-out free blowing with melodic balladry. While I'm sure the live experience was at another level, the recordings have never disappointed after years of listening. Even Ayler, at Fondation Maeght, was leaning somewhat in this direction.

I'd say that it makes sense to review a disappointing effort by an artist you usually like, as you'd have a good working perspective. But I agree that if you just don't connect with an artist it makes sense to leave the reviewing to those who can meet the music on its own terms.

I don't know about shows, but one of the best affordable restaurants in Rome is Piccolo Abruzzo. http://www.tripadvisor.com/Restaurant_Review-g187791-d1008109-Reviews-Piccolo_Abruzzo-Rome_Lazio.html

Maybe Headhunters made more sense to a kid familiar with rock & funk? For all Mahavishnu's debt to power rock, the music, I think, is coming more from an advanced jazz sensibility, if that makes sense.

I liked seeing Ivo Perelman live because his playing rattled my skeleton (plus it was the last time I got to see Wilber Morris), but I can't listen to him on disc.

And, of course, Mahler's warm and fuzzy Kindertotenlieder.

Ted Poor Poor Boy, Long Way From Home The Prodigal Son

Allen, if we change the title to The Night of the Hunter will you give it a second chance? Actually, I tend to agree with Larry and to a degree Mark--I don't think the music ever breaks out of the pleasant texture in a really engaging way. Just compare Riot with the versions by the Miles group.

I don't know, but "fa-so-la-si-do" in Portuguese becomes "fa-so-la-ti-do" in English.

I'd guess by the number of recordings that have surfaced from Free Trade Hall (compared to London venues, for instance) that they must have broadcast jazz concerts on a regular basis. Shouldn't that be doobie doobie doobie doobie doobie doobie doobie doobie dada badoobie dada?

All depends on who's playing or singing them. I wouldn't be surprised to see Dave Frishberg singing My Pinky Hurts. And if Dolly Parton and John Fogerty did a duet on Bosoms in the Bayou I'd give it a listen.

Allen, lots of song titles and album covers were not chosen by the artists, but by producers. So, should we hold the producer's choice against the artist? And plenty of examples have been posted on this board of covers that don't well represent the music, to say the least. OTOH, Thad's A Child is Born lives up to the schmaltz of the title. I'm wary of titles in general, and I know how arbitrary the choice can be, as well as deliberate at times. But I think "programmatic" titles can lead the witness in bad ways, hence folks assuming that there's something inherently "spiritual" (a word that's like a Rohrschach test anyway) about the MUSICAL CONTENT of A Love Supreme. I wish Trane had called that piece something like Paper Toilet.

Huey Dewey Louie

First time I saw him was at Jazzfest. Even though I didn't like Kidd, and liked Joel Futterman even less, I was blown away by Alvin Fielder and especially Clyde Kerr. I think William Parker might have been on bass, but not sure. I also saw him at least once with Fred Anderson at Vision. I don't remember any real range of dynamics or use of space, just blowing his brains out. In the spirit of full disclosure, I'll add that I don't like Brotzmann either.