paul secor

Oscar Peterson & Clark Terry

A lot of fine records were released in the 70s. I could easily list 100-150 favorite records, but I cut it down to something relatively manageable. Here goes: Air: Air Time Art Ensemble of Chicago: Les Stances a Sophie Chet Baker: The Touch of Your Lips Jaki Byard: Flight of the Fly Adolphus "Doc" Cheatham Ornette Coleman: Paris Concert Ted Curson: Blue Piccolo Paul Desmond Quartet Walt Dickerson w. Wilbur Ware & Andrew Cyrille: Tell Us Only the Beautiful Things Roy Eldridge: The Nifty Cat Boulo & Elios Ferre: Pour Django Charlie Haden: The Golden Number Earl Hines: Plays Ellington Jo Jones: The Main Man Jimmy Knepper: In L.A. Warne Marsh: All Music Max Roach: M'Boom Roswell Rudd/Giorgio Gaslini: Sharing Leo Smith: Spirit Catcher Archie Shepp & Horace Parlan: Goin' Home Sonny Stitt: Tune Up! Cecil Taylor Unit: Akisakila

Lee Konitz Nonet: No, No, Nonet

Missed this when it was posted. One of the wisest and simplest things I've ever read - a good one to remember.

Yep. Same with the MJQ in Japan LPs.

Not Latin jazz and not exactly avant-garde either (tho it is, in a way), but definitely worth checking out if you're into the unusual: Ned Sublette's Cowboy Rhumba (Palm Pictures) - Ned Sublette doing mostly his own cowboy songs, backed by great Latin musicians (also w. steel guuitarist Lloyd Maines on a couple of tunes). You've heard of Tex-Mex? Well this is Tex-Cuba- Puerto Rico-Dominican Republic. Great stuff!

Very interesting article. I was happily surprised that Ben Ratliff played the sacred harp music for Ornette to listen to and comment on. "They're changing the sound with their emotions. Not because they're hearing something." That's something I'll be thinking about for a while.

Seems like you have something against Ornette or his music. That's your right, but the two sentences that you're concerned with in the article: He talks a lot about sequences. (John Coltrane, he said, was a good saxophone player who was lost to them.) are not quotes. They are evidently a summarization by Ben Ratliff. Who knows what Ornette actually said? I've had limited experiences with newspapers (outside of reading them), but I've had enough to know that what you say or even what you write - my experience with the NY Times - is not necessarily what gets printed.

Thanks for posting that article - great stories & thoughts.

Issued in mono (because they were recorded in mono after 1960 - not because the stereo masters were lost): Ayler: Spiritual Unity Coltrane Live in Japan MJQ in Japan (Atlantic)

Solo Monk

Happy 37th, Matt!

B.B. King: Rock Me Baby

John Fahey: Volume 6 - Days Have Gone By

No hostility toward Regina Carter - I've never heard her music. I'd just like to see some other people I consider worthy getting a MacArthur.

I guess that everyone probably has their own MacArthur wish list. Mine would include (just talking music here): Yusef Lateef, Henry Townsend, Von Freeman, Roswell Rudd, Rev. Claude Jeter, Andrew Cyrille, Otis Rush, Sonny Rollins, Lazy Lester, Lee Konitz, Etta Baker, Joe Wilder, Clark Terry, Michael Hurley, Archie Shepp, Lee Andrews, Dan Hicks - I omitted some good names that others have already mentioned, and I know I've left off others that don't come to mind right now. (Also, I believe all those I've mentioned are still living.) I'd even like to see people like Claude Lawrence or Eddie Diehl get an award and have the opportunity to do more. But hey, it's not my money or my foundation. It's theirs and they pass out the $. Does anyone here know how the winners are selected? Can any lobbying be done? Finally, I am surprised that Wynton hasn't been named - what with Stanley being a past "genius" and all. (This doesn't even deserve a sarcastic smiley.)

Stan Getz/Albert Dailey: Poetry

As far as I know, those are his only two recording dates.

Don Ellis: New Ideas

Al Francis: Jazz Bohemia Revisited

Clem has mentioned John Koerner. Haven't heard him in a long time - didn't grab me then, but perhaps he or I or both of us have changed over time. (I hope we both have.) Anyway, I'd like to add Michael Hurley's name and music to the mix - anyone who's interested in later (or perhaps any) Dylan could do worse than to check his stuff out.

Reading this thread, I thought about something that Nick Tosches wrote in the liner notes of a Michael Hurley CD. I've disagreed with lots (LOTS) of things that Nick Tosches has written, but not this one: "Let's just shut up, you and me both; let's just shut up and listen and go to where Michael Hurley is. After all, we can always turn around and come back. He can't." I've never met either Michael Hurley or Henry Grimes, and I'm not comparing them in any way except that I enjoy and respect their music. I just think that this quote says something about the relationship of audience to artist, and perhaps has something to add to what's already been said here.

The George Wallington Trio: Knight Music

The Everly Brothers Sing Great Country Hits