dicky

In retrospect I dearly wish I had done something like this for shows/performances I attended. 40 years of hearing live jazz and all I have is my memory of which I'm less distrustful with each passing year.

Alexander Hawkins! With Joe McPhee.

GB was a monster guitarist. I have 3 CTI albums which I thoroughly enjoy. Also have him w/ McDuff, Jimmy Smith, Miles, Freddie, etc.. He chose to make money rather than continuing on the path of the albums I dig. Good for him. In doing so (with his not so distinguished singing), he undoubtedly brought awareness to a mass audience of "purer" jazz recordings. Good on him. What's the problem?

I was born Nov 1964. So as Maxwell Smart would say, "missed it by that much".

You have a point. I should have expounded. And for that I apologize. I once shared your perspective, borne out of mostly only listening to his post Desire albums in passing, if at all. My ears heard a voice that increasingly sounded like a bad impession of Dylan. How come Bob couldn't/ wouldn't sound the same?! Then one night a friend played the entire Tell Tale Signs Bootleg Series release for me. I was stunned, and slowly began catching up with all I had previously wrote off. For starters, Street Legal, Love & Theft, and Modern Times stand on equal footing with the JWH and prior recordings we both admire. I could make a case for others but whatever one's preference, there are sublime tracks on (nearly) every release. Add to the mix unreleased tracks from the Bootleg Series and elsewhere, and it's apparent Bob has been a vibrant artist through every phase of his career. Giants walk amongst us, and he is most certainly one. He addresses subjects in a manner that, when not overt, may elude a secular listener or at least a listener unprepared to listen to Dylan through a biblical lense. If one is unwilling to engage Dylan from that angle you simply will miss out on much of what animates him. Musically, with passing years, he's employing more sophisticated changes. His vocal delivery and vocal timbre has undergone multiple iterations (like any singer) due to artistic choice and necessity of age. He's no longer mimicing Ralph Stanley, for example, but he never, ever lost his artistic instinct for delivery - amongst his greatest musical contributions - despite his diminishing instrument. Like Lon, I tend to listen to "latter day" Dylan these days but like Ellington's canon I wouldn't want to be without any of it. Each part of their respective careers enriches the whole.... warts and all.

That's profoundly, utterly absurd. I can only imagine you checked out.

What specifically has Charles Gayle said in performance or out that is being characterized as "homophobia" and which "should not have been tolerated "?

Tonight was a wonderful evening for Henry's book launch at Rizzoli Bookstore in NYC. Tim Berne, Bill Frisell, and Brandon Ross (who spoke affectionately about his time playing w/ Henry) were amongst those in attendance.

As to the subject of the thread, the demography of the leading lights of the music has noticeably expanded. Contemporary innovators of the music we broadly call jazz come from many parts of the world... and have for many years now. Thus rendering JazzTimes' policy more than a day late and a dollar short.

I encontered Paul Shaffer in the bathroom at a NYC Jimmy Smith gig in the '90's. George Benson was also in attendance... albeit not in the bathroom.

Fair enough

"He's fucking Rod Stewart. There has never been any real depth there, just projection of personality and a voice that met the demands of that quite well." Something tells me you're not really acquainted with the 10 albums Rod recorded btw 1968 & 1972. If you are and still feel that way then we just strongly disagree.

Anat Cohen. Anat is a friend of a friend who I've met on a few occasions. The last such time she told me about hanging out with Ornette and preparing eggs for him at his place. Here she is from 2012 at a synagogue performing Lonnie Smith's And The World Weeps with Paquito D'Rivera... https://www.youtube.com/watch?v=S6V030_WP78

While David Murray released many albums recorded over a span of several years on DIW/ Disk Union, one particular recording burst I think particularly stands out. In January 1988 (that's as specific as the discs get) he went into New York's A & R Recording Studio accompanied by Dave Burrell, Fred Hopkins, and Ralph Peterson. Jim Anderson was at the board. These sessions produced 4 contemporaneously released CDs - Lovers, Ballads, Spirituals, and Deep River. My recollection is that all 4 were released in 1988 and 1989. They are uniformly superb and compare favorably, to my ears, in capturing a moment in time much like Miles' Prestige Cookin', Workin', Steamin', & Relaxin' recordings did. A fifth and much lesser disc from the same sessions consisting of leftovers - Tenors - saw the light of day in1993. Murray recorded many worthwhile DIW released albums before and after, but those 4 releases are something special. All 4 guys are equal contributors and I think those recordings have never been given their just due.

Along with the great Henry Grimes!