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By Rooster_Ties · Posted
The page where I found the cover art also has a track listing… (…and btw, the Steve Hoffman link above says it’s 2cds!) https://www.allaboutjazz.com/album/forces-of-nature-live-at-slugs-mccoy-tyner Tracks: In 'N Out; We'll Be Together Again; Taking Off; The Believer; Isotope. “In ‘N Out” and “Isotope” are Joe’s tunes. “We’ll Be Together” is surely the Fischer/Laine standard. There’s a McCoy tune called “The Believer” from an early-1958-recorded session on the 1964 Coltrane album by the same name — and I’m seeing it’s credited to McCoy (I guess that’s right, but 1958? — I thought Trane and McCoy didn’t cross paths on record quite that early, can someone set me right?) I don’t know “Takin’ Off” at all (and nor does Google, with any of the names on this live date). Maybe a spontaneously improvised tune. -
No exterior damage and rain was less than in the August hurricane that came closer but wasn't as powerful. I could tell because the round pen for one of the horses just had a little mud in one area but the same area had standing water last time. Remarkably, what I thought was a final electric flicker that knocked the clock radio off was actually a 20 minute outage after I went to bed. I can't wrap my mind around the fact that the power could go down in the middle of a storm and come back when they should not have been out working anywhere. But I am thankful, my buddy in Tampa lost power about the same time as TTK and he is still off, with no estimate of restoration yet. -
By corto maltese · Posted
I can offer two more ID's. If "London is calling", the finger-poppin' track 2 had to be the early Don Rendell/Ian Carr Quintet. "Sailin'" is from "Shades Of Blue", the first of their Lansdowne albums. It's an attractive tune, but for me, the title track is the album's obvious highlight. Track 6 is a duo recording from bassist John Pope and violinist John Garner. The track listing of their "Water Music" album (all avant-jazz covers) was certainly intriguing, but when sampling the music I was a bit underwhelmed. This Don Cherry cover is a case in point: it's just a bit too clean and polite, especially the violin. Actually, for me, some parts of track 12 exude the spirit of Don Cherry (ca. early seventies) more clearly than the "Mopti" track. Apart from the obvious Pharoah influence, that is. -
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