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Stereojack
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Posts posted by Stereojack
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Absolutely - plays tenor on "Trancendental Meditation" (on "Friends") and flute on "Feel Flows" (on "Surf's Up").
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Well, I've come to this thread pretty late, but I'd like to add a few comments.
I first discovered Lloyd back in the 1960's on Chico Hamilton's "Drumfusion". Although his playing was Trane-inspired, I liked his passion and his compositional skills. Perhaps my favorite Hamilton with Lloyd is "Man From Two Worlds" (Impulse), featuring the original (and superior) version of "Forest Flower". "Passin' Through" (Impulse) and "A Different Journey" (Reprise) are also very good. Someone close to the Paul Butterfield Band once told me (and you can hear it) that "Passin' Through" was one of the inspirations for "East-West".
I saw Lloyd several times back in the mid 1960's in Boston and New York, just after he had left Cannonball and was putting together his quartet with Keith Jarrett. At the time he was signed to Columbia, and had released two excellent LP's, "Discovery" and "Of Course, Of Course", which featured Ron Carter and Tony Williams, who had worked with Lloyd whenever Miles was off.
I felt that with "Forest Flower" his playing became, to these ears, diluted, as if his flute playing had influenced his tenor, and not for the better. His popularity soared in the late 60's, as much for the "beads & bell bottoms" image as for the music, which was rather ordinary, I felt. The last time I saw him was around 1972, playing maracas on stage with the Beach Boys. Some of you may already know that he plays on two Beach Boys tracks, "Trancendental Meditation" and "Feel Flows". The Boys, in turn, appear on his albums "Waves" and "Warm Waters".
I have liked, but have not been blown away by, his recent stuff on ECM. It does seem more focused that the late 60's playing.
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Raking leaves is the price we pay for living amongst trees. I love the big maple in front of my house, it provides shade and a little privacy, and I resign myself to spending a couple of hours every year picking up after it. I wait until they've all come down before I rake 'em up. It's a small price to pay, and it boggles my mind that there are people who would actually CUT DOWN a tree, and sacrifice the beauty it provides, just so their yards would look a little neater.
I grew up in a neighborhood that was a new development when my folks bought their house, so there were no trees when we first moved there. My dad planted a number of saplings around the house that took decades to mature. When I look at old pictures that were taken during those years, I'm struck by how barren the neighborhood looked back then!
I love driving down an old street with lots of trees!
Hate the leaf blowers! Pick 'em up and take 'em away!
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Male barber - same guy for many years. Back when I had hair, which was thin & stringy, it was easy to screw up, so I'd be loyal to anyone who could get it right. Now that I'm bald, it's a quick 5-10 minutes and I'm outta there!
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JAZZ IN A STABLE (1955, Transition) and DETOUR AHEAD (United Artists, 1958). Isn't the Transition material now under the purview of EMI?
Yes, but "Jazz in a Stable" is not a big band album. "Detour Ahead" is one of the songs on "The Band and I", not an LP in its own right, unless TBAI was reissued under that title at some point.
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I'd love to see Mosaic do a set of Herb Pomeroy's 1950s big-band material that's now owned by EMI. It's five albums in all, I think, perfect for a Select. I e-mailed them once with the suggestion and Cuscuna replied, "Intriguing... risky, but tempting." So I'm hoping that they do it eventually.
Five albums? I know of three:
Life Is a Many Splendored Gig
Band In Boston
The Band and I (w/ Irene Kral)
What are the other two?
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Jonah Jones was a fine trumpet player with a solid pedigree as a veteran of great swing bands led by Stuff Smith and Cab Calloway, to name two. In the late 1950's he had a hit album entitled "Muted Jazz" that took off, and he milked the formula for years to come, and sold a whole lot of records. Although he made a string of forgettable formulaic records, I don't think he fits the spirit of this thread. At the end of his career, when the gravy train had finally stopped, he made a solid mainstream album for Chiaroscuro that showed that he still had the goods.
My 2 cents
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Mine came today. Will begin listening tomorrow.
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"Rolling With Leo" didn't sit in the can because it was a bad date but because Leo Parker died shortly after it was recorded, at least according to the liner notes. It even had a Reid Miles cover designed and it appeared on other LPs' inner sleeves showing upcoming releases.
It bears repeating that this was planned for release, so Blue Note was satisfied with the date. Parker's death, and possibly poor sales of the previous release, may have been the factors that cancelled the release.
It's easy for many to assume that unreleased material is not up to snuff, but we have to remember that Blue Note was a small company, and couldn't afford many releases that didn't turn a profit. There are numerous sessions that are of a very high caliber, but which weren't released strictly for commercial reasons.
Parker's music may have not been at sufficient a creative level to satisfy all the critics (he has been dismissed on more than one occasion as an R&B player), but it is good strong blowing, and I love it.
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Charles Lloyd Corner
in Artists
Posted
Mike Love's tenor solos were way beneath whover is playing on TM, which is somewhat Trane-ish, I've always thought. I can't remember where I first heard it, but I don't have trouble believing it to be Lloyd. Steve Douglas is certainly a logical guess, but I can't hear him doing this. I don't know when Lloyd first got into TM, or when he befriended the Beach Boys, but it seems plausible to me.