CJ Shearn

I'll second Butch Cornell. Gary Versace is another one, as is Barbara Dennerlein, only heard some clips, but she is really interesting in her approach.

that video was funny. Wes playing free jazz? LOL

yep, that Tain indeed is a hot album.

John, I have to agree with you about Freddie on "Free For All", what a powerful, emotionally charged performance. But, I think its important not to forget the other important contributions of Lee Morgan (Moanin', A Night in Tunisia) Clifford Brown, and Kenny Dorham, in the Messengers canon. I would also add that Wynton's playing is very strong on the "Keystone 3" album.

I thought of Miles too, when he walked off stage. It was very hard to hear him too.

I agree on the unreleased Jimmy Smith date.

me too!!!!!

Blow Arnett Blow is great........... I'm not a huge fan of the chunky organ of Bill Davis (hey its the roots of JOS, gotta respect it) but with Arnett and Lockjaw.. ouch

I await your full commentary, Jim.

I think so too, Guy.

Guy, I just listened to this as well. I was 3 when this album came out and my mom bought it along with one of Wynton's classical albums after the buzz about him, and I listened to both when I was a little older. Now, 21 years after this recording was made, and now that I'm an adult I can fully comprehend what this album meant. To me, it seems to have made a movement mainstream, which bands like VSOP and Woody Shaw were doing years earlier in the mid 70's, and the post Wynton "young lions" began to investigate the style of post bop Miles did in the 60's with his 2nd quintet, after this came out. From what I understand, gathering from the liners of the reissues of these Miles albums, was not popular at all at the time. What also is apparent to me about this record, is that Columbia seemed very bent on finding the next Miles and packaging Wynton as such with a band of great young players capable of playing music in the style of that great group. The presence of Ron Carter on "Phryzzinian Man" makes the link stronger with the Miles band, and that was magnified even more on Wynton's first album which had 3/5ths of the second quintet involved. That must have been completely orchestrated by Columbia knowing the history and importance of music made by that band on that label. Musically, I still like the music... it is, however like you said Guy, is very derivative despite the bullshit of Stanley Crouch's liner notes trying to sound as if something new was going on. Wynton's tone and ideas here show the influence obviously of Miles, and Woody Shaw, but some of his own personality comes through, especially on the CD only bonus track of that improvised trumpet and bass blues. Branford's tone and ideas on tenor remind me especially of Wayne Shorter, though his tone on soprano, at that early stage in the game I can identify as Branford, I think he has an individual sound on that instrument. Kenny Kirkland shows pretty much what made him one of the best post Hancock pianists, and a heavy influence on his generation. I like how Kirkland could go from the acoustic straight ahead of this album, to the complex, electric fusion/straight ahead hybrid of Mike Brecker's first album the following year. (That in itself should be an album of the week) Tain, definitely is Tain tho his playing definitely is very similar to Tony circa '67-8. The title track swings extremely hard, with the mix of swing and second line rhythms.... and a tune like "For Wee Folks" has a slick melody. "Delfeayo's Dilemma" reminds me very much of "Pinnochio", could be because a descending line in the melody is ripped straight from that tune. I think a tune like "The Impaler" recorded years later on "Citizen Tain" shows that band pretty much full circle, in a performance that I would argue, is better than anything on "Black Codes" because it has that flying by the seat of your pants feel, and that record I think is one of the best in that post bop style Wynton and co. explored that I have heard, I return to it often.

listened to the soundclips. great mature sound. I like their cover art design over at Lineage

I've heard him on a McDuff date. Eddie's tone/ideas on that one reminded me of Eddie McFadden.

Monk, Mingus, Wayne, and Pat Metheny. You know a Metheny melody right off, the phrasing, and the kind of chords.... he has a distinct harmonic sense in his tunes. Now, one could argue that you can't tell whether Lyle Mays or Pat wrote the melody lines of some of their greatest tunes, but Pat is more concerned with singable melody, and Lyle's melodies to me have more of a sense of a "process" to them, if you know what I mean.

the Keystone Bop recordings are excellent. Some wonderful playing by Jo Hen and Booby ;-). John makes some very good points about the stylistic changes Hub went through. His early 60's recordings expressed a wonderful warm midrangey tone and fluid ideas... the CTI stuff well, his chops were just crazy, though sometimes I feel his ideas were limited amongst the whinnying lip trill, and screaming high notes, throughout the 70's period. then the 80's a bit of everything. Though on recordings like "Night of the Cookers" I can hear him getting into more of that high note stuff a bit more easily. Think I'll play "Face to Face" now

who is Steve Lake? is he another ECM producer?

oh I have been waiting for this! glad to see its on ECM too instead of one of the "majors". I am all over this one too.

hmm, Gleam must have some substance to it if it was Japan only, as do the Japan only Herbie's of the period, and the VSOP albums. would like to hear it.

Ithink to Downbeat anything fusion wise=pretention. I forgot to put dozo in front of yoroshiku..... oops

um, how come when I d/l these Joey D. live cuts all I get are excerpts? it'd be nice to burn the fulltunes to disc

damn, that sucks, it'd be nice if Super Blue made it to CD I've wanted to hear it.

cool, downloaded it

Take the A Train is the one example of the Woodyard I thought of. And a movement from the Newport Festival Suite. Listening to "Milestones"now, so far at the beginning it sounds like the rimshot on 4 is occuring on every measure. Once Cannon reaches the bridge in his first chorus it changes up a little. Am I right here?

didn't Sam Woodyard originate the rimshot groove thing in Duke's band? Otherwise I could see the rimshot on 4 thing being a Philly Joe innovation

I saw him live a few years ago and had his album with Spanish jazz musicians. it was very interesting.