Matthew

I, also, got this cd because of the rave reviews. For some reason, it's one of those cds for me, where I'm not able to listen to more that two numbers at one sitting. There's just a lot of things going on here that I need time to try to catch. So, I'm still haven't left the first cd behind. That being said, this is creative jazz at it's best, I'm especially enjoying Robin Eubanks, haven't heard the trombone played that creatively in a long time. This will be spinning for quite awhile so I can digest it all.

What I really like about Big John Patton, is that, even on the cooking numbers, he plays with a lot of space and patience. He never seems in a hurry, always sets up what he's playing very nicely. Soul Woman is a good example of what I mean. Patton is supporting Grant Green in a wonderful manner, letting Green shine, but playing with space and creativity at the same time. This is a great choice for AOW, thanks Big Al! Edit: Boy! I have to learn how to spell someday!

I was always under the impression that most Californians do not have earthquake insurance. Am I wrong about that? I know I don't have it. At $62.00, heck, why not?

I've been giving this a few spins lately, and I must say, I like Bounce very much. The arrangements, the band, and Blanchard are in great form. Though, I must admit that the first thing that went through my mind when I heard the version of "Footprints" was George Washington Jr.'s "Mister Magic". I also noticed, and there's a good chance I'm crazy on this one, but Blanchard sounds very influenced by Bobby Hackett on the ballads. Just the tone and the phrasing made Hackett flash for some reason. Over all, and great first Blue Note cd from Blanchard, and I'm looking forward to the next.

Ah! A blast for the past.

John Patton: Got a Good Thing Goin' Sonny Stitt: The Last Sessions, Vol. 1 & 2 Nicolas Payton: Sonic Trance Terance Blanchard: Bounce

Only if you pick Sonic Trance.

Let me correct myself. Listening to the cd, it sounds as if Richard Landrum is sitting out on Ain't That Peculiar and The Shake. That'll teach not to make assumptions before I actually listen for something.

Landrum sounds like he's in all the tracks, in fact, this is an aspect I enjoy about this cd. I'm playing this cd now (quite a wakeup call at 5:45a.m.) and I really like how Landrum & Walker are supporting each other. There's a lot of sessions with congas where the congas just don't fit (Lou Donaldson's come to mind here), but in "Good Thing" they are truly moving the music forward. Of course, just keeping up with Patton and Green in part of the story on that. Great session, just gets better with each listen.

Another blow to the "American Way of Life"! What??!! we want to get rid of greenbacks, the long green? What next? No more dead presidents?? I'm keen on green!

That's one way of looking at it. My take however is this: You're a jazz musician, a trumpter, you don't want to keep doing the "Hardbop" thing, and you don't want to go in the "Free-jazz" direction either; so, where do you go? To my mind, when a musician turns to the Davis Electric period for inspiration, they are trying to address the question of where their music is going. Just because Miles did it before, does that mean going down this musical road is ruled out? Or that anyone trying this mode of music is a copycat sellout? Payton is making a start in a new direction with Sonic Trance, and it should be judged on its own merits, of which, I think there are plenty of good aspects about the cd. The more I play it, the more I like it. It is a creative attempt to go someplace that can grow over the years, and, hopefully, Payton will stay on this course for a bit, a develop an unique approach. I agree on one point though: Please Nicholas, no "Time After Time"!

You can use Paypal, only if you're willing to cover the 4% charge for the seller! So, add another $80 at least to the price. That sounds fair to me.

My main disagreement with your review DrJ, is that this is not a cd about jazz being placed on top a dance-grooves. To me, Payton is trying to create a sonic sounscape where different sounds and emotions are created, making the parts into a whole. I listen to Sonic Trance the way I would listen to a Techno record, in that, what is important is how the pieces fit together to support each other, and then create a sound tapestry. I've listened to Sonic Trance several times now, and each time I'm hearing more clearly how everything fits together. Not just that, but I'm beginning to discover many beautiful musical moments, eg, "Seance [Romantic Reprise], and "Blu Hays", just to name two. I must admit, this cd is really growing on me, but, then again, so does fungus.

19 great reasons to stay right here is California

It could be that other areas of Pepper's life were so messed up, that it made him more sensitive to the beautiful. I've met some pople like that -- the constrast between the darkness in their lives, and the lightness of art, just touches them in an different way. Some people, not all. Life is complex at times.

Every time I've seen it == about $300 or more. It's rare lp only set. Though Blue Moon has a cd version out.

Even though it's a shared billing, I always smile when I see this. By far my fav.

I always thought we knew our shit here

I'm also a big Bix fan, with the complete Sumbeam set. Bix just has a wonderful tone, and is able to have a great flow of amazing ideas coming out of his trumpet. Too bad there is also a lot of pure crap in the set. I think the one about "driving in my Cheverlot" has to one of the worst things ever on record -- and three, or is it four takes of the thing??!! All in all though, the set is a very interesting window to popular music in the 20 - early Thirties, even in those moments when Bix disappears completely in the mix in the lumbering Paul Whiteman's Orchestra (boy are those cuts an aquired taste, even though Lon enjoys them )

Forgive the generalities, but here is MHO: The pre-sevenities music has been done to death in some ways, and the post-sevenities jazz is still, to a great extent, an unexplored mineload of ideas. Plus, the outright refusal of "traditional jazz music" to incorporate electronic instruments, or technology, is keeping that musical tradition at a standstill. Payton is trying to go in a different direction, to get a new sound, and that, in my book, is great to see in an artist.

What ever happened to good, old fashioned, payola?

Red Holloway - Coast to Coast (click to buy) Just listened to this and it is a great cd. Red Holloway and Frank Wess are both on tenors, with Dr. Lonnie Smith (organ), Melvin Sparks (guitar), and Paul Humphrey (drum) rounding out the quintet. Just straight ahead, righteous, great jazz. This easily could have just been on of those by-the numbers sessions, but, thankfully, everyone is in peak form. Dr. Lonnie Smith is especially great is keeping the groove going in a very light, but funky way. He was the suprise for me on this disk, as I've never been overly impressed with him before (I don't have too much of him). Plays in a tasteful, understated way, but he keeps Sparks and Humphrey, dead center in the pocket. Holloway and Wess blow great, and complimemt each in a wonderful manner. In fact, all the solos on this cd are first-class in every respect. As an added plus, RVG is manning the boards for the recording, making the sound primo in every sense. So, if you love organ jazz, straight ahead jazz, tenor battles, or just music, buy this cd, you won't go wrong. It might be traditional jazz, but as Heywood Broun said: "There is still a kick in style, and tradition carries a nasty wallop." And that is what "Coast to Coast" has in abundance -- style and a nasty wallop!

Like moths drawn to flames, it seems trumpeters continue to feel the need to come to grips with "electric Miles". If you do not like "Bitches Brew", my guess is that you will not like "Sonic Trance". Payton goes full-bore into an eletronica atmosphere with this new cd, with the pluses and minuses that entails. There are eighteen selection to ST, but of those eighteen, thirteen clock in under 4:21, and most of these are under two minutes. So the focus of ST is feel and not developed "songs" in the traditional sense. Payton's trumpet rarely has a "pure" trumpet sound; he puts it through phasing, and a liberal use of the "Wah-Wah" effect that Miles used in "Pangaea" & "Agharta". Tim Warfield shines throughout ST, especially on Saprano Sax; and Kevin Hays has many fine moments on keyboards. It's strikes my as the kind of cd that will grow on a person with repeated listens, and I would say this is the best cd in this style since Henry Kaiser & Wadada Leo Smith's "Yo, Miles!"

I have to be careful, whenever I play "Bitches Brew" and drive I5, I find myself going ninety!

Thanks Jim for keeping it going. Excuse the french, but these hackers are pure assholes.