BFrank

Curtis Amy arrived today. Have to give it a spin over the weekend. just to clarify: one disc of the select is bonus tracks not available elsewhere; that said, i have some of tolliver's other albums and i believe i understand what you mean by "musically limited"... the two selects i really want to get eventually are the tolliver and the first hill, at this point... I do like Woody Shaw. I have the Mosaic, Stepping Stones, In My Own Sweet Way, Live Vol. 3 and the sessions with Freddie Hubbard. Some of his stuff (not what I own) is a bit too "out" for me. What do you mean when you say that the Tolliver stuff is "musically limited"? Is is because there is not another horn involved other than his trumpet? Is it because you see it as too straight ahead vs. adventurous or vice versa? Because the music starts to sound all the same or the soloing patterns are all the same? Because of the skills or execution of the musicians involved? I'm just curious about what you meant by that. One of the great things about these sessions for me is the live feeling throughout. It's got great "presence". BTW, I wouldn't call it "musically limited", but that's just me - I'm a little biased.

Those Tolliver sessions (at Slug's) have been amongst my favorite live recordings for over 30 years. When the Select came out I didn't waste 2 seconds before ordering it. It sounds great and the additional unreleased tunes (disk 3) are a major bonus not available otherwise. A fantastic example of early-70's hard bop.

There seem to be plenty of Curtis Amy's still available from Mosaic.

You got THAT right! Plus........you get to live in Cannon's home state!

I was a little disappointed that Jack felt he needed to play "Sunshine ...", "White Room", and "Politician" for the 10,000th time.

Amazon said it shipped today, so I might have it before the show. We'll see ... Will definitely give you a review, too.

Best of luck to you both.

Dude, I'm a saint, not a god.

Jim Carroll, 60, Poet and Punk Rocker, Dies Always an interesting performer. I saw him 2 or 3 times between 1980 and 1990. Needless to say, will be forever known for his tune "People Who Died".

Saw the Bad Plus tonight. Don't know what to think about them. On one hand, I think they're brilliant - on the other hand, it seems like one big "alt jazz" gimmick. Anyone have any thoughts?

My Curtis Amy is ordered from Movie Mars - no word on shipping after 2 days, but they still have it on Marketplace (price increased from approx $44 to $75). Let's hope we're lucky Tom! Amy is still on the "Running Low" list - not even "Last Chance." Should be no problem to order direct. I have one coming next week.

Anita

That whole set is on fire! Don't burn your fingers.

Probably going to see Bad Plus this weekend at Yoshi's.

Interesting about the John Patton Select. Gone......and then back to life (if however briefly). This set is a MUST-HAVE (IMHO) for anyone with any interest in Big John. Get it while you can.

Just DL'd this one, too (like everyone else): The Monterey Quartet Live at the 2007 Monterey Jazz Festival

I felt that I should order something - just popped for Curtis Amy. I have Katanga and I'm sure the rest is just as good.

My email says the following: The following titles are no longer available: Mosaic Select: Bob Brookmeyer (MS-009) Mosaic Select: Don Pullen (MS-013) Mosaic Select: Dexter Gordon (MS-014) Mosaic Select: Art Pepper (MS-015) Mosaic Select: Johnny Richards (MS-017) Mosaic Select: Freddie Select (MS-018)

Add one more - 79!

I missed everthing. Our plans changed. Maybe next year. That Velvet set sounds OUTstanding!

You won't hate it.

... or Wayne!

Iridium 12/10-13, Yoshi's (Oakland) 2/5-8 Charisma! The Music Of Lee Morgan- Charles Tolliver, Bennie Maupin, Billy Harper, Geri Allen, Dwayne Burno, Billy Hart Celebrate the music of trumpet legend Lee Morgan with an all-star ensemble comprised mostly of members of his last working bands plus other special guests Billy Harper: Tenor Sax, Bennie Maupin: Tenor Sax and Bass Clarinet, David Weiss and Charles Tolliver: Trumpet, Geri Allen: Piano, Dwayne Burno: Bass, Billy Hart: Drums A cornerstone of the Blue Note label roster prior to his tragic demise, Lee Morgan was one of hard bop's greatest trumpeters, and indeed one of the finest of the '60s. An all-around master of his instrument modeled after Clifford Brown, Morgan boasted an effortless, virtuosic technique and a full, supple, muscular tone that was just as powerful in the high register. His playing was always emotionally charged, regardless of the specific mood: cocky and exuberant on up-tempo groovers, blistering on bop-oriented technical showcases, sweet and sensitive on ballads and also found ways to mimic human vocal inflections by stuttering, slurring his articulations, and employing half-valved sound effects. As his original compositions began to take in elements of blues and R&B, he made greater use of space and developed an infectiously funky rhythmic sense. Morgan got his start with the Dizzy Gillespie Big Band but rose to prominence with Art Blakey and the Jazz Messengers. In 1964, he recorded The Sidewinder for Blue Note Records. The Morgan-composed title track was a funky, danceable groover that drew from soul-jazz, Latin boogaloo, blues, and R&B in addition to Morgan's trademark hard bop. It was unlike anything else he'd recorded before and became an unlikely hit for the label. It inched onto the lower reaches of the pop charts, and was licensed for use in a high-profile automobile ad campaign. Its success helped push The Sidewinder into the Top 25 of the pop LP charts, and the Top Ten on the R&B listing. Sales were brisk enough to revive the financially struggling Blue Note label, and likely kept it from bankruptcy; it also led to numerous 'Sidewinder'-style grooves popping up on other Blue Note artists' albums. Morgan was asked to write more tunes in the style of The Sidewinder in hopes of a follow-up hit and Morgan obliged but Morgan also formed a working band that was increasingly moving into more modal and free-form music, stretching the boundaries of hard bop. His funkier instincts were still evident as well, shifting gradually from boogaloo to early electrified. This sound is reflected on his last two albums, Live At The Lighthouse and what has become known as the Last Session which featured a tight, energetic, boundary stretching working band with bold new compositions from most of it's members. Unfortunately the development of this group was cut short by Morgan's tragic death in 1972. He was just 33 years old. For this celebration of Morgan's music, Trumpeter/Arranger David Weiss has put together a group that will feature the two saxophonists who were members of Lee's last groundbreaking working band, Bennie Maupin and Billy Harper and features the music from the repertoire of this great band.

I have that.