Leeway

After watching the Japanese movie, BLACK SUN, last night, I had to spin some Roach today.

Sweet!

Pete Jolly Jolly Roger Jolly Rancher

AFRO-DESIA - Lonnie Smith, et al. Including a young Joe Lovano(!). Groove Merchant LP. Funky, soulful, boppish - a cool album.

I too would be interested in the sound of these LPs. From the accompanying blurb on the Mosaic site, it would seem this is an analog production, but I'm not entirely sure about that. The little bit at the end about "remixed" and "remastered" raises some question marks for me. It might all be great, so hopefully we can get a report on that. BTW, Mosaic has reduced the price to $80 for the month of February,

Nelson Riddle The Riddler The Mad Hatter

THINK! - Lonnie Smith (organ), Lee Morgan (tp), David Newman (ts), Melvin Sparks (g), Marion Booker Jr (d), Latin percussionists. Blue Note LP reissue. Funky, but coolly hipster too.

THE EMPTY FOXHOLE - Ornette Coleman (as, tp, vn), Charlie Haden (b), Ornette Denardo Coleman (d). Blue Note LP ("Van Gelder" in the run-off).

John Reed Alexander Graham Bell Adolphe Sax

TIME FOR A TIGER - Anthony Burgess. First book in his "Malayan Trilogy." Have always found Burgess interesting. Have read "A Clockwork Orange" (Kubrick's movie might very well be better than the book) and the Enderby books (due for a re-reading). Has anyone dipped into the Malayan books?

Metta World Peace Harlem Globetrotters Mr. Universe

Ettore Bugatti Enzo Ferrari Edsel Ford

"Zebulon" is pretty good. And Evans is absolutely fine when he is in the mix with guys like Parker, Guy or Lytton, who all can handle anything thrown at them, and who can keep the group dynamics together. Check out "Rocket Science" for more of that. The fact is Evans can do pretty much anything he wants with the trumpet, which is both a virtue and vice. Sometimes amazing, sometimes mere ego-tripping. As for MOPDTK, not my "hot cup" of tea.

Edmund Spenser The Faerie Queen Britomart

Kelly Ripa Jack the Ripper Rip Torn

I like the US version because I enjoy seeing contemporary pictures of jazz players, here Monk and Mulligan. They are sort of erased from the UK version (I wonder why, but it is interesting to see how the cover varies, so thanks indeed for posting it). Along with the question: Who benefited most from this meet-up?, one could have an interesting little contest: "Please provide a caption for this photo (on the US edition)." Clearly something is being discussed; seems like Monk is putting something forth and Mulligan is considering it.

If no one is going to post this, I guess I'll have to: Always love those Lee & Jackie McLean match-ups

Abbott Friar Tuck Thelonius Monk

If it makes you feel any better, that bidder might have had it set to go another 10Euro if using a sniping program. Better luck next time.

More Mulligan: PRESENTING THE GERRY MULIGAN SEXTET : Mulligan (bari), Zoot Sims (as), Bob Brookmeyer (tb), Jon Eardley (tp), Dave Bailey (d), Peck Morrison (b). EmArcy Japan LP. Swings like crazy. Another nice sounding Japanese pressing.

MULLIGAN MEETS MONK - Thelonius Monk, Gerry Mulligan, Wilbur Ware, Shadow Wilson. Riverside/Victor Japan LP. Who benefited more from this meet-up?

Evans was fine in Rocket Science with Evan Parker, in fact he was great (talking about the live shows in NYC, but the CD is fine too). When Evans has a solid group around him, his playing can be impressive. In his solo work, he is most often over the top, or even with such pet groups as Pulverize the Sound, where it is all about massive technique and "epater les bourgeois." The guy is blessed with massive technique, which can be a show-stopper, but alas, not much soul or feeling. Just my take after seeing him fairly often over the last several years. I used to compare Evans and Wooley as, respectively, contemporary counterparts of Dizzy Gillespie and Miles, that old argument over technique and soul/mood.

Ghoul Patrol Car 54 (where are you?) Hawaii Five -O

I read an interview with Tim Berne from about the time of the first "Snakeoil" album. He mentioned that he could count on selling about 2,000 copies of his Screwgun releases, but by the time he went to ECM, he was selling about a thousand each. He said it became non-viable to continue his own label. I would assume that with ECM's marketing muscle, he is selling more then he used to, but how much I do not know. I suspect most "Downtown" musicians might sell 500 copies. I believe after about 250-350, the break-even point is reached. Most musicians say that the money now is in appearances.

Barry Tuckwell Tucker Carlson Carl Sagan