paul secor

Happy Birthday!

Happy Birthday!

:party:

Charles Lamb Elia Elia Kazan

NY Times review of the film: http://www.nytimes.com/2014/10/24/movies/low-down-on-growing-up-with-joe-albany.html?module=Search&mabReward=relbias%3Aw%2C%7B%222%22%3A%22RI%3A15%22%7D

Great post, Jim.

Ticky Burden Beast of Burden The Beasts of Bourbon

I agree with you, Jim. Trane's solo on "Someday" sounds to me as if it were spliced in. Two takes of "Teo" were recorded the day after "Someday", although there was an incomplete take of "Teo" recorded the same day as "Someday", so who knows about that one. Bob Blumenthal's notes for the Mosaic Miles/Trane box state that Coltrane was playing the Apollo with his group and came to the studio in between shows on both days. He also mentions the possibility of a splice on "Teo".

Looking at the title for this thread on New Content, I thought that it had something to do with Warne Marsh: ""

Anthony Perkins Janet Leigh Alfred Hitchcock

Best Poems - Stevie Smith

Miles Davis/Tadd Dameron Quintet in Paris (Columbia)

Will Rogers Jr. Buck Rogers Herb Jeffries

That's something that could be said of most of us at times.

You could just not read his posts if you have that kind of reaction. Easy enough to do.

Prime Jug.

The Joe Daley Trio: At Newport '63 (RCA) I'm looking forward to Jon Horwich's reissue of all of this material.

Eric Dolphy: Other Aspects (BN)

Recently listened to the LP of Muhal's Afrisong. It's a wonderful recording. Someone should grab it.

A good way to celebrate Diz's birthday!

Happy Birthday, Matthew!

Yeah - I enjoyed Peter Trunk's playing with Lucky Thompson on that Vogue LP. Hadn't thought of him for a while. Thanks for the reminder.

I was this close to pulling the trigger on the Hamp set and adding it to this order but got cold feet... i may live to regret it but i don't regret what the money got spent on instead (filling other gaps in my Ellington collection). If it had to one or the other, you made a good choice.

Spandau Ballet Bishop Tutu Barre Phillips

I haven't heard the recording in question, though I do like a lot of "late" Coltrane, but it's certainly possible for it to be simultaneously true that (A) the recording is "not great" (or even "not good"!) and (B) Dyer pooped out a turd. Also - and I can't believe I didn't make this point pre-edit - there is a WHOLE OTHER THREAD DEDICATED TO THIS RECORDING in which people say positive stuff about it, whereas this thread is dedicated to Dyer's review. Ergo your observation. The vituperation is because Dyer used this one recording to build a IMO specious case that late Coltrane as a whole, and Free Jazz in general, had by 1966 more or less proved itself to be a musical train wreck. From Dyer's piece: "Or perhaps it [the Temple recording] just makes evident what was harder to grasp in the intoxicating frenzy of the moment: that free jazz had run its course—come up against its limits—while the course was still being run and the limits breached. The fact that things fall apart does not mean that they can’t keep going, especially given the huge freight of history that the music and its revolutionary promptings and trappings is, at this point, obliged to bear. On that note, one wonders about Yeats’s claim that the best lack all conviction while the worst are full of passionate intensity. Trane is as passionately intense as ever. Did he lack conviction? Maybe the Yeatsian opposition is false and passionate intensity covers up or disguises a deeper lack of conviction." That's not dismissive, bordering on disdainful? "The fact that things fall apart..."? In 1966? Hello, Art Ensemble, for one of many. A dangerous thing to do, making such sweeping generalizations for the "general public" (who just might pick up that very statement as a "fact" to be repeated elsewhere in a most inappropriate way), and I can understand that this is galling to those who believe in the music and know the finer details of it. I think that all of the above answer David's posts very cogently.