Rosco

Apologies if it's a repost, but I just came across this clip of Charles Tolliver's big band

I believe this may be one of Bill Laswell's 'reconstructions' (think Panthalassa)... not sure what era it's going to cover though. Laswell has spoken of doing projects covering the Mwandishi period and revisting the Future Shock era music.

I'm listening at the moment and it's.... alright. The picture of Jamie Cullum on their homepage isn't encouraging. Still, they're playing more jazz than Snooze FM has in years.

Indeed- the flute on Crescent is during Pharoah's solo, though

Miles Davis- CBS Years probably around 1989, if memory serves A couple of years later I got Miles' Chronicle set and Charlie Parker's Dial recordings around the same time, followed closely by Ornette's Beauty is a Rare Thing.

Nice find, Brownie! Thanks for the link I haven't come across this session before and the only reference I can find to a gig on this date is on Pete Losin's site (even then, he only lists a fragment of one title) http://www.plosin.com/milesAhead/Tapes.aspx?s=19661111 There are a couple of curiosities though: There's an unlisted percussionist. Emanuel Rahim did some dates around this time, possibly him? There is some flute (and/ or piccolo) on Crescent and Leo. Coltrane? Who is the alto player on Crescent? (track 1 is Naima, not After the Rain)

There's a 2 CD reissue of Blue Hour on BN. Some worthwhile extra music there.

When was that ever not the case?

I'll buy that. Luck. . . and craft. And I'll buy that. Except that I think that by and large it's political craft. That is to say I think he's a Jazz politican - maybe the first true example of that - and it is to that that he owes his success. That is he has created, along with his minders, an image - of himself and Jazz, which the public has found attractive. But he hasn't really got a great deal beyond that, at least for the majority of people. Looking at this thread, there are evidently a fair number of people to whom he is a really serious musician with a fascinating back-catalogue. But many more seem to be indifferent (some antagonistic). This only seems comprehensible to me if one asserts that his current top status in Jazz is down to extra-musical factors. Hence the idea of him as a Jazz politican, comparable to that of the Academic politician - good at climbing the greasy pole. But I think people have seen through the image. Simon Weil I'd say that was right, although not exactly without precedent. It's easy to forget (and some would rather not even acknowledge) that jazz is part of the business we call 'show'. There have been a fair few jazz musicians whose high profile has been enhanced by, if not politics, a certain amonut of spin doctoring. Ellington, Dizzy, Miles... all extremely savvy at building up a marketable persona. The difference being that all of them had a hefty amount of genius to back it up. Wynton is no genius. It's been interesting that Wynton's reputation (at least as a recording artist) has taken a slide since doing the Ken Burns docu. If the intention of the show was to place Marsalis' name- as has always seemed to be his ambition- front and center of some mythical jazz renaissance it seems to have had the opposite effect.

I've had much the same experience. Played with him a couple of times at workshops and am constantly astounded by his sound, technique, knowledge and passion. A great musician who desrves to be much more widely known beyond our shores (in fact, I am somewhat surprised that he isn't! I'd certainly put him in the same class as Tubby Hayes, Stan Tracey or Victor Feldman of Brits that could cut it in anyone's company). I believe he was given a contract by Blue Note at some point in the 80s or 90s (when the label was having a brief flirtation with Brit jazz)... I'm not sure why that was unproductive. A good guy, too, with a dry sense of humour who will happily sit down for a pint and a chat.

Is it just me, or does Sid sound a little too loose at times? ...if ya follow me.

I'd add his appearance on Chico Freeman's Destiny's Dance to that list. (Hard to imagine him keeping that kind of company these days)

Marsalis is a good trumpet player, but no more than that. As a conceptualist he's merely content to recycle well worn ideas while his proponents (shhh.... you-know-who) acclaim them as revolutions. When all the hype and bullshit fades with the passage of time what's left is the music. Fact is, Marsalis has never made a great album (despite what the Pulitzer folks will have us believe). Not good for a supposed 'major artist'. The real action has been elsewhere all along and finally even Marsalis seems to be recognising it. His work of the last few years has had the air of a man whose time in the limelight has passed and who knows it. Yes, I own some Marsalis albums. Clifford Brown's come off the shelf way more often.

A life that enriched so many others. They don't make 'em like that anymore. RIP

I think the real question is: How many times has Herbie recorded Cantaloupe Island with different leaders?

Also recorded by Miles as 'Teo's Bag'

Some that Donald Byrd recorded: on Free Form Night Flower Three Wishes on Royal Flush Requiem on Up wiith Donald Byrd Blind Man, Blind Man Cantaloupe Island And with Bobby Hutcherson: on Happenings Maiden Voyage and on Oblique Theme From Blow-Up

I don't recall noticing it particularly on the Impulses. That's not to say there isn't any. As has been said, you'll be too wrapped up in the music to notice. The Impulse sides by that band are essential, but don't overlook The Survivor's Suite on ECM. Oh... Dewey might be vocalising through the saxophone. Is that a problem?

MartyJazz has just reminded me of something... I have a 7" single of Brubeck's Take Five that is not the take used on the album. Never seen it listed in any discographies. I assume it dates from the same sessions, though. Anyone?

I am shocked. Shocked! Lindsay Lohan worked with Robert Altman?!

These would be the Art Blakey Big Band sessions, right? They're ok. Nothing earth shaking, but pretty nice. It's a pretty opportunistic piece of packaging; IIRC Trane doesn't even solo on every track.

By coincidence, I bought this yesterday and just had my first listen. Struck me as being a routine Blue Note date (for which read: 'very enjoyable') and, as most folks here have pointed out, McLean is the best thing here. The use of the pocket trumpet didn't seem to make any special difference, although Byrd seems to occasionally struggle with articulation in the upper register. I need another listen to have it sink in but I'd say it's worth having.

Easy. Radiohead, 'Everything In It's Right Place'. But probably not.

Got a lot of time for Neil Young. Not everything he does works (his albums are generally awesome or awful with little in between) but you gotta love the guy for putting himself out there with everything that he does. For me, he's like the rock world's Miles. Don't stand still, keep the tapes rolling, put everything down mistakes and all and screw the critics. Records don't get made that way anymore. If you're a newbie, start with Decade, an excellent introduction to Young the younger, including some fine tracks unavailable elsewhere and one or two from otherwise inessential albums (like 'Long May You Run' with Stepehen Stills). But it's hard to go far wrong with any of his late 60s- 70s output: Everyone Knows This is Nowhere, Harvest, After the Gold Rush, On the Beach, Tonight's the Night, Rust Never Sleeps- all classics. There's some good things from the last few years too (Freedom, Harvest Moon, Ragged Glory spring to mind) though I thought the album with Pearl Jam was a little shapeless. As has been said, avoid the Geffen period. I too made the mistake of buying Landing on Water and took it back. Have to admit though, I've missed out on the last few albums. I'll have to give them a listen sometime.

They're in recording order on the Chronicle boxed set and I much prefer them that way. The whole run has the ebb and flow of a gig sans audience. By comparison I find some of the sequencing of the original discs a little strange (Workin' in particular). As to the question at hand- boy! My first response is to plump for KOB (I believe there's rarely been a more perfect summation of the art of jazz, not only in execution but in concept) but honestly, I could probably list about 20 albums, depending on what day I'm asked and what mood I'm in. And, like Jim, I have a lot of bootleg recordings that offer up their own pleasures and fascinations alongside (and often in opposition to) their official counterparts. The astonishing thing is, given the volume and scope of Miles' work, there are large and significant parts of the story that are still being unearthed. I've been listening to Miles (a lot) for 20+ years and the fascination has yet to wane.