Matthew

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.

Put me on the side the digs JATP. I have the box set, and most of the others, and I play them a lot. There is something about the best of the JATP that I find, dare I say it? fun! Sure, there are moment that are kitsch, with the honking and yelling, especially the Chicago date, but there's more than enough great times to make it worthwhile. Parker, Young, The Hawk, Nat King Cole, Oscar Peterson, Illinios Jaquet (sp!), Ella, Les Paul, and many more greats -- what's not to like?

Maybe Tom sent the Dreaded Blue Note Street Team on a "special mission."

Great to have Organissimo back on the air!

Herbie Hancock's Maidan Voyage has a nice KofB feel to it.

I own 26, mostly cd's I could never find domestic releases for, though I have most of the Jimmy Smith's. My favorite is "Back at the Chicken Shack", great job by RVG on this one.

me new pirate name be Red James Kidd! Arrrrrr......

I loved the book -- never realized that the BBC did a series on it, thanks for the heads-up. If you like TTSS, you would love the book The Untouchable by John Banville. It's a book based on the life of Anthony Blunt.