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Great prices for the Bird and Billie. The Pres is a great disc. I like the Patty Waters a lot. And the Sun Ra is a trip.

It's a great record and the tracks on that comp don't do it justice, save the Patty Waters "Lonely Woman," which is just heartbreaking. Glad to say I bought a copy about two years ago.

THis is hard... I may forget some Some nobody has mentioned I think: Bob Marley Jack Bruce Joao Gilberto Gram Parsons Toots Hibbert Steve Winwood John Lennon Paul McCartney Little Richard Chuck Berry Ray Charles Mick Jagger Greg Allman Mercedes Sosa Country singer favorites: Willie Nelson George Jones Tammy Wynette Hank Williams Merle Haggard Patty Loveless More: Bob Dylan Sandy Denny Muddy Waters Howlin' Wolf Van Morrison BB King Otis Redding Sam Cooke Marvin Gaye Dionne Warwick Joni Mitchell Rod Stewart Levon Helm (and the other Band singers too) and I am sure I am leaving out a favorite

Oh yes! How could I space on her? Lee is a very diverse singer - able to sing or recite lines "straight" yet with an ineffable sense of depth. And her production of free, non-lyric sounds is unparalleled. I particularly like her work with Gunter Hampel. Still, my desert island vocal disc would be Patty Waters' You Thrill Me (Water).

Find the singers who most fit with the instrumental sounds/approaches you like. The vocalists who, for me, have made the most impact are those who treat their voice as a conduit for deep personal feelings and not just singing the lyrics pat. Some whom I like in particular: Patty Waters, Sheila Jordan, Annie Ross. YMMV.

I've heard recordings of Brotzmann and Kowald with Jazzrealities and it's pretty interesting from a historical point of view but of course the Fontana LP does it all way better without them. Keep in mind that Brotzmann couldn't read music at that time (not sure about Kowald). I believe that Giuseppi's reading was pretty good, from what I've been told. Everywhere may be a little off balance in Giuseppi's favor, but I have the sneaking suspicion that he was not playing very loudly or projecting that much. If you listen to his commentary on Patty Waters' College Tour LP, it's definitely off in the distance. Maybe that was intentional, or psychological, OR a result of poor miking.

I was rather taken by Devorah Day's Light of Day a few years back, but it doesn't seem that that many others were. But hey. Strong Seconds on the Patty Waters You Thrill Me disc as well. Some of that stuff is as cut-to-the-quick real as it can get. Sarah Vaughn - Swingin' Easy This is what Sarah did, done about as well and as unencumbered as she ever did it save for maybe some of those Musicraft sides. Billie - All Or Nothing At All At the end of the day, this is the one I keep coming back to. The fifth? Whatever is handy (and right) at the time, when the time comes, if it does. some good people already mentioned, too many others not to narrow it down to just one.

From Alan Lankin's Jazzmatazz Upcoming Jazz releases list: I'll look forward for this new one from Patty Waters. Her two ESP albums were real out of the ordinary! And since Burton Greene is just one step away from Ms. Waters, currently listening and enjoy Greene's Columbia LP 'Presenting Burton Greene' (with Byard Lancaster, Steve Tintweiss and Shelly Rusten) which I had not spinned in a long, long time. Doubt that Sony will ever reissue that one! Hope somebody else will. Water maybe??? What on earth was going on at Columbia when they recorded this (and the Sonny Murray album they never released)? The Greene album was produced by one John Hammond! Was Columbia trying to get hip and follow ESP's path? In any case, 35 years after it came out, the Greene music still sounds fresh!

Marzette Watts (ts) Bill Dixon (p-1) Juney Booth (b) J.C. Moses (d) Play it straight (1) F.L.O.A.R.S.S. Joudpoo George Turner (cnt) Marty Cook (tb) Marzette Watts (ts) Bobby Few (p) Frank Kipers (vln) Cevera Jefferys, Steve Tintweiss (b) Tom Berge (d) Patty Waters, Amy Sheffer (vcl) Lonely woman (fk,as out) October song Medley Recorded in the fall of 1969 ; Released on Savoy MG 12193 Wow! Thanks Chas.

Marzette Watts (ts) Bill Dixon (p-1) Juney Booth (b) J.C. Moses (d) Play it straight (1) F.L.O.A.R.S.S. Joudpoo George Turner (cnt) Marty Cook (tb) Marzette Watts (ts) Bobby Few (p) Frank Kipers (vln) Cevera Jefferys, Steve Tintweiss (b) Tom Berge (d) Patty Waters, Amy Sheffer (vcl) Lonely woman (fk,as out) October song Medley Recorded in the fall of 1969 ; Released on Savoy MG 12193

Interestingly, later Trane and Ayler brought me in reverse back to some of that music. Several fantastic collections have been released in recent years. In writing the notes to the reissue of Patty Waters' ESPs, I compared her work to some of the vocal acrobatics/wide vibrato of some early 20th c. gospel singers.

Inspired by another thread: Patty Waters - College Tour - (ESP orig)

Marzette Watts (tenor) featuring vocalist Patty Waters on a truly lyrical version of the song, from the Marzette Watts Ensemble Savoy LP, produced by Bill Dixon in 1969. It's absolutely heartbreaking.

Yes, definitely!! I just picked up an eBay copy a couple of minutes ago. Also liked the sound of that Ruth Price w/Shelly Manne a good bit and found a copy over at Half.Com. Ghost, that Anita O'Day ('Sings the Most') is one of the few that I actually have....love it! The Irene Krall looks interesting. Alot of nice suggestions in each of the previous posts and I'll be referring back to this thread for quite some time. A good 8-10 jumped out at me -- that Beverly Kenney 'Sings for Playboys' for sure looks like one to check out, as does the Sarah Vaughan 'Swingin' Easy.' Oddly enough, JS, I do like the sound of that Betty Carter/Bryant cd and will probably get it as well......but you're correct about the Patty Waters. Thanks for all of the input.

• Pacific Gas & Electric • Patty Waters • The Telefones

Out here in the wildlands of Houston without my collection, I've been bored and needing music and discovered that eMusic works quite well with iTunes, so I joined. Have gotten some Gigi, Laswell, Bartz, Revolutionary Ensemble, and other albums in download, including the fantastic "Love Songs" by Patty Waters and Jessica Williams. Some downloads here sound better than others. . . . The Xanadu Pee Wee Williams I loaded sounds awful. I bet the Woody Shaw "Blackstone Legacy" cd sounds better than the download. But some sound great. Overall I think iTunes music store downloads sound much better, but then they're more than twice as expensive.

Patty Waters Burton Greene Algie Howell

wigwise, I really liked Patty Waters but not sure I 'enjoyed' it! A very emotional set and a quite unique experience. She has to be heard live! As for Parisian jazz activities, there is no dedicated jazz site that can help but you can always check the Figaroscope listings Not complete bit I do not know of any more thorough site.

For December: Patty Waters complete recordings (liners by yours truly, in addition to Mr. Stollman) and Ayler Slugs' Saloon 2CD (with notes by John Kruth). Archival photos and clean mastering, both in my hands as I type.

Patty Waters Brian Wilson Duke Kahanamoku

Less activity on this one than for Disc One, and a lot of the responses seemed somewhat "perplexed", especially those which came before yesterday. I figured on some of that, but, honestly, not as much as there ended up being. Oh well, the Disc is what it is, and I got a kick out of reading the responses that tried to figure out just exactly what it is. And to think that I decided to keep it mostly "inside"! Anyway, let's take it apart and see what's inside. I suspect that a few eyebrows will be raised along the way! TRACK ONE – “The Happy People” by The Cannonball Adderley Quintet From Capitol ST-11121 The Happy People (LP) Cannonball Adderley –as, Nat Adderley – coronet (not present on this selection), George Duke – el p, David T. Walker – g (not credited for this selection, but guitar is obviously audible), Walter Booker – b, Roy McCurdy – d, Airto Moreira – vcl/perc; Mayuto, Octavio, King Errison – perc. Flora Purim – “Special Vocals” (Recorded 1972) A lot of “if I didn’t know that this was Cannonball, I’d never have guessed” responses to this one, and that’s sort of the point (that and the absolutely fabulous, non-stop Brazilian groove). If you only know Cannonball up until the early-1960s or so, you don’t know the whole Cannonball. Yeah, a lot of those later Capitol sides had a lot of commercial trappings, often suffocatingly so. And a lot of them were edited so that Cannonball’s full solos ended up as condensed fragments. Yet, in spite theimpression those records might give you, his playing continued to grow and evolve. His tone got fatter, rawer, and less ripe, he continued to stretch harmonically (sometimes extremely so), and he was not at all averse to dipping into the “free” bag when it suited him. That’s a side of Cannonball that was best experienced live, but bits and pieces of it do survive on records (more explicitly on his post-Captiol Milestone sides, but even there, the “trappings” are usually in place). Point is – Cannonball’s records might have gone commercial, but his actual playing went just the opposite route. If you’re patient enough, there’s some really juicy and spicy meat to be found in even the most commercial sides, meat of a decidedly different variety than that of the Mercury/Riverside years. And he remained an immensely popular live attraction right up until the day he died. Just goes to show you that sometimes, what you think you’re getting and what you really are getting may not be the same thing! As for this album, it’s not yet been reissued (and, as brownie noted, it’s not even listed in the Lord discography). But this tune and the Milton Nascimento tune after it (which make up Side One) are perfectly fine, full of life and inspired playing by all (Airto was on fire in those days, and brought it with him everywhere he went, it seemed). Side Two drags down a bit, and gets pretty tedious (and non-Brazilian). So, is the glass half-full or half-empty? That’s one for everybody to decide for themselves... Anyway, from The Happy People, we go to the not-so-happy people: TRACK TWO – “Aftermath” by Oliver Nelson From Flying Dutchman FDS-116 - Black, Brown And Beautiful (LP) John Klemmer & John Gross – ts, others not credited (Recorded ca.1969) More from Oliver Nelson’s other masterpiece. This time something of a decidedly different bent (Side One of this album is “classical”: in nature, while Side Two is “jazz”. This cut is the opener to Side One). Nelson had extensive conservatory training in composition, and I’m told that he left behind a fairly sizable repertoire of “classical” works that were never performed in his lifetime (and ain’t that a drag – to create a body of work that you never get to hear, not even once...). If they show the range and adventurousness of this one (and the other three), they should be examined and performed immediately, I believe. Yeah, the main theme goes a little bit into FilmScore Land, but it’s enclosed on both sides by some pretty heavy shit that conveys quite well the image that Nelson had in mind. Says he: This, too, is Fire Music. Make no mistake about that. TRACK THREE – “Try A Little Tenderness” by David Sanborn From Elektra 61759-2 – Pearls (CD) David Sanborn –as, Kenny Barron – p, Christian McBride – b, Steve Gadd – d, Johnny Mandel – arr; others not credited (Recorded ca.1994-95) Syrupy or tasty? Again, that’s a matter of personal taste. But I’ve talked about Sanborn’s gift for melodic interpretation, and, specifically, this album often enough that I thought I’d include a cut for general review, since I KNOW that ain’t nobody gonna buy a Dave Sanborn album, just because! Besides, after the gut-wrenching turmoil of the previous cut, trying a little tenderness seemed to be the only option... If you like this cut, you will like most of the album from which it comes. There’s also a stunning cameo by Jimmy Scott on “For All We Know” (which almost made this test, but for the Patty Waters version of the same song which closes Disc One). There is a little bit of genuine schlock on Pearls, but for $6.99 - the price I paid for a used copy - I’d say it’s a safe bet. TRACK FOUR – “What A Little Moonlight Can Do” by Etta Jones From Muse MR 5175 – If You Could See Me Now (LP) Etta Jones – vcl, Houston Person – ts, Sonny Phillips – p, Sam Jones – b, Idris Muhammed – d (Recorded 6-21-1978) I think that this was Etta’s “comeback” album, her debut on Muse, the first in a long, happy, and successful relationship between her, Houston Person, & Bob Porter’ various labels. They had a formula, sure, and Etta’s voice gradually declined over the years, but the vibe was always real. Her spirit wouldn’t let it be otherwise. On this album, however, everybody is still fresh and nimble, and the groove is bumped up several huge notches by the archetypical work of the incomparable Sam Jones. Jesus Christ, can you swing any harder than he does here? And live to tell about it? We also get a rare opportunity to hear Sonny Phillips on piano, and that’s a treat (Nate heard a wrong note at the end of his solo, but as Joe G noted, it’s really just a #11, a rather nifty, Powell-ish finishing touch). And Idris hooks up w/Sam hand-in-glove (how could you not? And live to tell about it?). Etta just RIIIIIIIIIIIDES the beat, letting it (and Person’s totally simpatico obbligatos) free her up to do what she will with the tune. And what she does is swing the hell out of it! Heard live, a groove like this can transport you into another realm. Heard on record, it can come pretty close to doing the same thing. But who farted? Not once, but twice? At 1:02? And again right between 3:31 & 3:32? I’ve had this album for years, and never heard ‘em until listening to the CDR master of this disc. Thought that it might be some digital “addition”, but Holy Beano, they’re on the LP! Somebody farted on-mic. Twice. Everybody lived, but nobody told about it. Rudy, what the hell? Still, this is one GAS of a cut (pun unavoidable). Makes me happy to be alive. Gotta love that! TRACK FIVE – “Without A Song” by Freddie Hubbard From MPS/BASF MB 20726 – The Hub Of Hubbard (LP) Freddie Hubbard – tpt, Eddie Daniels – ts, Roland Hanna – p, Richard Davis – b, Louis Hayes –d (Recorded 12-9-1969) Richard Davis has an agenda of his own on this cut. What the hell it is, I haven’t a clue, but if it’s to create a potential for instability that forces everybody else to dig in and play as heatedly focused as they can, he succeeds. This and Ready For Freddie are by far and away my favorite Hubbard-as-leader sides (throw in a few others for Honorable Mention, though). He’s got his chops in high gear, but his creativity is right there alongside ‘em. Eddie Daniels (when/how/why did THIS cat turn into such a dipshit of a musician? Fuckin’ clarinets & tuxedos, sheesh....) is just wack on this one, digging into a DEEP Joe Henderson bag for his phraseology, but with a tone all his own (although I do hear a little Warne, now that some of y’all mention it...). He’s obviously trying to key off of Davis for his time, but that’s a good plan gone awry. So he just throws caution to the wind, and with marvelously warped results – quizzical phrase endings, riffs that try to get the time into one place, and just a lot of “Fuck it, I’ll see y’all when I see ya’” stuff.. A truly spontaneous, in=the-moment solo, I think.Roland Hanna’s got one foot on Jaki Byard and the other hand on a beer bottle (you gotta see the inner-jacket photo to get that one...). Louis Hayes, hell, he’s having to try to make sense out of whatever the hell Richard Davis’ time is up to, and he does it against all odds. Yet the whole thing burns from start to finish, and the MPS Reverb on the end just adds to the already well-established sense of buzzdom. A splendid mess, this one is. This whole album is one big, sloppy party where everybody plays their asses off, faults and all. I like that. A lot. I think the album’s been reissued on Japanese CD. It should be reissued in America. Ask Verve. TRACK SIX – “Requiem” by Oliver Nelson From Flying Dutchman FDS-116 - Black, Brown And Beautiful (LP) Pearl Kaufman & Oliver Nelson –p (Recorded ca.1969) Lots of Jarrett-guesses on this one. I don’t hear it myself, but that doesn’t mean anything. Don’t know which pianist is which, but based on Kaufman’s other appearance on the album, I’d say it’s Nelson playing the ostinato. I’ll let Oliver Nelson give his own commentary for this one: TRACK SEVEN – “I Hope In Time A Change Will Come” by Oliver Nelson From Flying Dutchman FDS-116 - Black, Brown And Beautiful (LP) Oliver Nelson –ss, others not credited, but likely including Bobby Bryant – tpt, Roger Kellaway – p, Chuck Domanico – b, John Guerin – d (Recorded ca.1969) The title, as Nelson says in his only commentary on this piece, “is self-explanatory”. As is the music. Heartbreakingly melancholic, it is, with those abortive forays into the major key that get pulled right back into the omnipresent minor, as well as with those deep interior dissonances at climatic moments. The bright, happy chord that ends it, is that a dream of things to come? A commercial quick-fix ending? Or is it the musical equivalent of the kind of smile your wife gives you when she’s got “that look” and you ask her what’s wrong, and she says “Nothing, dear. Everything is just fine...” ? I think the answer is pretty obvious. And that soprano...that too is self-explanatory... In my opinion, the unavailability of this album, in toto, on CD, here or anywhere, ever, is a most egregious wrong that needs to be righted as soon as possible. TRACK EIGHT – “Paucartambo” by Ray Anderson From Soul Note SN 1087 – Right Down Your Alley (CD) Ray Anderson – tbn/conga, Mark Helias – b, Gerry Hemingway – dr/steel drums (Recorded 2-3-1984) Until a change does indeed come, there’s always good, healthy escapist realism, and this cut has long been one of my favorites for exactly that. The timbre of the steel drums (and their less than precise pitch, exploited at times to glorious effect by, as Mike noted, Hemmingway’s varied attacks) creates a whole ‘nother world for me. Helias’ bass reminds me, in spirit, of Dolphy’s “Music Matador”, and Anderson plays very tasty, if not particularly complicated, conga. Then the interlude, and the instrument changes. The dream gets a little more concrete, but just a little. The bass/drum hookup on this one is TIGHT! Then they switch back, and the dream dissolves. But now, dammit, I wanna DANCE! TRACK NINE – “Db Waltz” by Weather Report From Columbia FC 39147 – Domino Theory (LP) Joe Zawinul – keyboards, Wayne Shorter – ts, Victor Bailey – el b, Omar Hakim – d, Jose Rossy – perc (Recorded ca. late-1983) Almost universally loathed until a last-minute surge of semi-support yesterday, it seems. Oh well, y’all are WRONG!!!! :g :g I mean, yeah, the ingredients (intentionally cheesy synth sounds, handclaps, band vocals, processed sax sound, arena-rock false endings replete with ultra-hyper drumming, and god-knows-what-else) are all “suspect” but the results are exquisite. Kinda like a good hot-link – if you dwell on what’s REALLY in it, it’ll make you barf; but if you just go ahead and eat the damn thing, it’ll groove ya for days. And this thing does groove me. Look, the tune itself is just plain wack once you take it apart and get past the surface ingredients – all the different sections (the segues between sections seem a little bit slack, though, and that’s the only criticism I have of this piece), the totally stretched harmonies, Wayne’s deadpan-but-oh-so-off-the-wall melodic statements and solos (a quality of his that goes back to his debut on Kelly Great, so, hey, what’s new?), the obviously (and obviously deliberate) over-the-top quality of it all, it all adds up to some master musicians having a blast. You gotta be free within yourself (and have a LOT of knowledge) to have this much fun with these kind of materials, to take the extra-mundane and bend it until it almost breaks, but doesn’t. This isn’t the self-congratulatory masturbatory chop-fest of the worst of fusion, this is just plain ol’ goofy-ass, First-Herd-of-the-Electronic-Age type FUN! Oh well, different strokes. Still love y’all! TRACK TEN – “Nothing Ever Changes My Love For You” by Roy Haynes From Mainstream MAL 313 – Hip Ensemble (CD burn of LP) Marvin Peterson –tpt, George Adams – ts, Carl Schroeder – el p, Teruo Nakamura –b, Roy Haynes- d, Lawrence Killian – conga (Recorded 1971) Now THIS one was just for laffs. I opened up Disc One with a “show-biz” type opener, and this one, redolent of headbands, long hair (Afro & Euro alike), tank-tops, tie-died pants, and sweat from playing hard at an outdoor concert (preferably in a park) as it is, just reeks of another type of show-biz – a young, not-fully-formed (Hannibal does NOT make all the changes!) group of young players led by an ever-hip, modishly (and expensively) dressed older drummer bringing a young-ish, highly stoned crowd to their roused feet by just HAMMERING THE HELL out of a once gentle and suave standard. Send’em home PUMPED, by God! SHOW BIZ BABY! :g Yet, it’s not without its charms. I dig Schroeder’s intro (and the segue from Zawinul to another, younger European electric keyboardist was intentional). Dig how he quotes “Four” without rhyme or reason (except that it comes four bars before the horns’ entry...). And his solo is nice and oblique in the then-current style. Whatever happened to him, anyway? And Adams is heard here in good early form, more than a little wild, but definitely playing. I miss that cat... The Haynes Mainstream albums are not “essential” or anything, but they are of historical interest and not without some intrinsic musical merit in spots. But this cut was included strictly for grins. I swear! TRACK ELEVEN – “The Beat Goes On” by Vanilla Fudge From Atco 33-237 – The Beat Goes On (LP) Mark Stein – org, Vince Martell – g, Tim Bogart – el b, Carmine Appice –d (Recorded 1968) What? Doesn’t everybody dig Vanilla Fudge?

That Patty Waters CD release was intriguing. I need to get back to it. Should have thought about her when listening to those final tracks of Disc 1

Just noticed this on the ESP website: ESP has begun to convert its catalog to surround sound dvd, utilizing a proprietary system called SONATURE (www.sonature.com). The first titles to become available on dvd will be Albert Ayler (Spiritual Unity, Bells, Spirits Rejoice, and a previously unissued cd and dvd of the concert at the Maeght Foundation), and Sun Ra's Heliocentric Worlds vols 1 and 2, Nothing Is, and previously unissued material. Patty Waters and the Pearls Before Swine (both One Nation Underground and Balaklava) will also be converted to surround sound. No other details of these or regular CD reissues that I could see... Don't know how regularly they update the site though.

Mal Waldron - Blood and Guts Alan Silva - My Country Noah Howard - At Judson Hall Dave Burrell - High Michel Portal - Splendid Yzlment Karlheinz Stockhausen - Aus den Sieben Tagen: Kommunion/Intensitaat Patty Waters - College Tour Don Cherry - Symphony for Improvisers John Fahey - Death Chants, Breakdowns and Military Waltzes Sandy Bull - Inventions ...

Jazzbo, I would be interested in more info about the Baby Huey, I have been eying that one up along with the Patty Waters...