Leeway

Nice one! Sticking with Mr. Anthony Braxton for the moment: SIX COMPOSITIONS: QUARTET - Antilles LP- Anthony Braxton (as, ts, B-flat soprano, E-flat soprano, contrabass cl, Anthony Davis (p), Mark Helias (b), Ed Blackwell (d).

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He seems to have Facebook page. https://www.facebook.com/people/James-Kousakis/100002298000454 For me, his playing is the weakest part of that record. I think that might be the son. Looks a little too young based on the photo on the back of the jacket, and the 1981 recording date. But I agree with your assessment. That was why I was kind of wondering who or how someone with so little--actually none-- recording experience could be selected to play with veteran musicians. I might ask Bobby Bradford when I see him this week.

FIVE COMPOSITIONS (QUARTET) 1986 - Anthony Braxton (as, ts, sopranino, C melody sax, cl, fl), David Rosenboom (p), Mark Dresser (b), Gerry Hemingway (d). Black Saint LP. Here is part of David Rosenboom's "vita" from his website: Rosenboom holds the Richard Seaver Distinguished Chair in Music in The Herb Alpert School of Music at California Institute of the Arts, where he has been Dean of the School of Music since 1990, a conductor with the New Century Players, Co­Director of the Center for Experiments in Art, Information and Technology, and member of the Center for New Performance. In 2011 he also served as Acting Co-President for CalArts. He taught at Mills College from 1979 to 1990, held the Darius Milhaud Chair, was Professor of Music, Head of the Music Department, and Director of the Center for Contemporary Music. His independent career outside institutions has spanned international performance and composition, consulting, recording, writing, instrument design, interdisciplinary research, and multi-media production.

Actually I love Andrew's piano playing and I for me it is more than just service to the composition It is certainly not virtuosic in something like a Bud Powell (for example) style...he does not spin out fast runs of notes... his solos often sound to me spare and extremely elliptical with reference to the beat... but his solos to me are riveting.... looked forward to by me... and they I don't know have some sort of inner logic. To the uninitiated I (which I am sure is not you Leeway) and even to some people who like jazz I have even heard the comment "that guy can't play" when listening to Hill solo.... I just disagree. Actually, I feel perpetually uninitiated . As I said in my earlier post, I think Hill was "a fine pianist." My point was that I feel that Hill was more interested in getting his compositions played in the way he heard them, than in the pianism itself. I could be over-valuing the former and under-valuing the latter, but I do kind of see it, and hear, it that way, based not just on PoD but on the body of his work. And I think that body of work will endure. That is a substantial achievement.

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LOST IN L.A. - Bobby Bradford and the Mo'Tet: Bradford (cornet), James Kousakis (as), Roberto Miguel Miranda (b), Marl Dresser (b), Sherman Ferguson (d). Does anyone know anything about James Kousakis? This appears to be the only record he appears on; rather unusual for someone playing with this type of ensemble.

That's the one they printed with the wrong album title. Later re-released as "Six Compositions For Quartet." Great band. I need to pick this up one of these days--it's one of the few Braxton quartet albums I don't own Wonder how that happened? Some ferocious playing here: THE MASTERY OF JOHN COLTRANE, VOL. III, "JUPITER VARIATION" - Impulse LP.

FOUR COMPOSITION (QUARTET) 1984 - Anthony Braxton, Marilyn Crispell, John Lindberg, Gerry Hemingway. Black Saint.

Email on Seldon Powell.

I always like albums where a great composer is introducing the compositions and playing on the album, I think that's one of the reasons PoD is so special. Hill's compositions have such a coherent and personal sensibility, and that creates a special feeling to the album. In similar vein, I find Hill's piano playing composer-ly (in the service of the composition), rather than virtuosic (in the service of the musician). Hill was a fine pianist, but the pianism was inextricably bound up with his composing. I was also playing the "what if?" game, thinking that maybe Freddie Hubbard would have been a better call on trumpet. But listening again. I feel there is a certain brooding quality, a shadow maybe, underlying or behind the music, and I think KD captures this beautifully. The album works beautifully as-is; no need to gild a lily.

Inspired by the PoD thread.

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A perennial but I still want it BAD:

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It just reaffirms that the more things change, the more they remain the same OTOH, I note that Rudy Van Gelder was still THE MAN at that time.

HI-FLY - Karin Krog and Archie Shepp. This copy has the labels of Compendium Records and Overseas Records and appears to be a Japanese pressing. Japanese info insert laid-in. It also appears to have been signed by Krog. Besides artistic merit, it is also a great-sounding LP.

Thanks for the correct link. Don't know how I mislinked it but I corrected the link in my post above.

Liberty pressing

Following is a link to the article in the NY Times, "Which Jazz Greats Were Left Off the Blue Note 100?" The article includes an interview with Blue Note boss Don Was. NYT is behind a paywall, but allows a handful of free article each month, so you should be able to access the article a limited number of times (unless you have a digital subscription of course). The article also has links to the 100 titles that will be released and the order of release. http://artsbeat.blogs.nytimes.com/2014/03/24/which-jazz-greats-were-left-off-the-blue-note-100/

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Yes, it was not a good choice. I recall now that Denardo said they had planned to use Roy Campbell, but that Roy passed away before the event. Whether the idea was to use Roy alone or Roy and Roney was not clear to me. It would not have hurt to have Roy there.

NEVER OUT OF FASHION - LIVE IN AMSTERDAM -(2008) - Black Motor. Kauriala Society LP, 2010, Ltd to 310 #'d copies. Sami Sippola (ts, voice), Ville Rauhala (b, voice), Simo Laihonen (d, bells, voice). Part Ayler, part Brotzmann. Crank it loud.