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Reunions that are still possible.


Hardbopjazz

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... I do think that musicians such as Von Freeman or Roswell Rudd (there are certainly other names to be added to these two), who endured long periods of being ignored, and perhaps partly for that very reason, have been able to retain that fire you speak about, and still play with it today.

True! Charlie Mariano would be another of those guys... did some weird stuff in between, but with his 2003 or so Enja disc he was there again, in full fettle, and about as emotional as it can get! Teddy Edwards had the fire till the end, too... but these somehow reached/reach another level, where doing something new doesn't matter that much, any longer... same for all the great seventies recordings of Art Pepper.

And that's not something I could say about McLean or Hutcherson - they *were* there, but in my opinion, they are not there any longer.

That's not necessarily a bad thing, as I can enjoy good mainstream jazz, too - the Barry Harris/Billy Higgins encounter mentioned above would certainly fall into that category, or what musicians like Hank Jones and Kenny Burrell do - nothing wrong with that!

But the point is that if you hear these reunions, often they sound pale and tired and tame in comparison to the originals... so I am not calling for/dreaming of these reunions (with some exceptions, like hoping that Rollins will team up with equals again, before it's too late).

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last time i saw jim hall he mentioned he and rollins were trying to arrange a concert for peace......

Now here's a reunion that I'd like to hear! But get Cranshaw off the bandstand or buy him an upright bass, PLEASE!

@ Epistrophy: thanks for your considerate answer to my grumpy remark... still, I stick with the general points I made, but I was a bit out of line with regard to this being merely a day-dreaming thread. Sorry for that.

Now, about those Blue Note reunions: somehow these do bore me on paper, already... I've heard some live recordings of the likes of Jackie Mac and Woody and Booby getting together again, and it doesn't work for me, I'm afraid. It's just not the Blue Note years any longer - that is now not a statement meaning travelling back in time is impossible, but rather a statement implying that nowadays this music (or these musicians?) have lost a lot of their relevance and - I dare saying that - fire. I know this is unfair, but it's just not the same anymore, if after 30 or 40 years they hook up again... all of them had been at or close to where it was happening in the mid sixties, but nowadays it's ye good ole mainstream, I'm sorry to say, and just fails to really grab my attention. Ok, Ornette can still bother people, sure Cecil can do so as well, *but* all considered, what they're playing is by now mainstream, too!

I hope this comes not over as just another grumpy rant.

I hear what you're saying, and agree. Cecil and Ornette are mainstream today, but hearing them in 2006 is similar to what it was to hear Ellington or, perhaps, Ben Webster in the 1960s. I wonder if Ornette and Cecil will be the last of our giants. (Sonny Rollins is no doubt another, and that story has been hashed and rehashed in another thread.) I do think that musicians such as Von Freeman or Roswell Rudd (there are certainly other names to be added to these two), who endured long periods of being ignored, and perhaps partly for that very reason, have been able to retain that fire you speak about, and still play with it today.

I can't agree with the idea that Cecil and Ornette are mainstream. They are each popular, with their own following. But when Ornette played at Disney Hall last year, a great many people walked out! They are still very challenging to the majority of the folks on our planet.

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I can't agree with the idea that Cecil and Ornette are mainstream. They are each popular, with their own following. But when Ornette played at Disney Hall last year, a great many people walked out! They are still very challenging to the majority of the folks on our planet.

They're not what the crowd recognizes as mainstream, but to be honest, guys like Brötz and McPhee horning their asses off is soooo old-fashioned today, isn't it? Sure, Cecil & Ornette are a bigger pair of shoes, but I guess one cannot call them very avant garde anymore, either, can one? The ignorance of the audience has nothing to do with the music, itself, and my statement was meant as an assessment of the music, rather than a statement about some musicians' popularity.

*****

How about Randy Weston and Johnny Griffin?

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