pryan

Chuck, any news on approximate time of release for Warne Marsh's ALL MUSIC?

I've been in need of a little greeze lately and have been eyeing THE NATURAL SOUL. Also thinking about BOSS TENORS IN ORBIT!, what's the grease factor on that one?

Jim, your mind was right According to AMG (couldn't get the link to work), the lineup is Cannonball, Nat, Lloyd, Zawinul, Sam Jones and Louis Hayes

Interesting, thanks for that Kevin.

Does anyone know exactly what's on the Weston set? Like Ed I have nothing by him either and am interested in learning more.

Don't forget the 1960 date, THE RAT RACE BLUES with Gigi Gryce. A great set which I was fortunately able to pick up on Lp this week.

Ditto. I'm also a former BNBB poster - known over there as natbat. I much prefer this place to AAJ forums, although I'm checking that place out a little as well.

Thanks for the detailed response, Jim. I must admit, I'm sorely lacking in knowledge of Mulligan's music (must change that soon!), but had heard, via the James Gavin Baker book, of his penchant for being a tough, 'dominant', as you say, leader. Your last sentence pretty much sums up the point I was trying to get across to Alexander.

Well, since I've got four names (two middle), mine is: Sleepy Dog Sugar Jefferson. Although maybe I'll take out the 'Sugar', then it'll sound cooler.

Please elaborate on this comment. Are you saying that Ornette adopted this format (ie. no piano) because the Mulligan/Baker group made it somewhat "popular"? Is it not possible that Coleman could have (hypothetically) come to use the pianoless format, had the Mulligan/Baker group never existed. Your comment seems to hint that this group is one of major influence and pioneering in jazz and thus played a major factor in Ornette configuring his group in the way he did, back in the late fifties. In short, I guess I'm saying that although the connection between the groups may exist in the temporal sense (as Coleman's group arose shortly after Mulligan's), it doesn't necessarily connect in terms of the basic ideas the musicians had, in terms of the non-usage of piano. Or maybe I'm just totally oblivious to Ornette's motives and influences, I'm no expert in this area.

I'll have another listen to this session, but am not really sure what you mean by "splashy". One minor quibble I have about this set are the sometimes jarring, or at least quite noticeable, edits. Mosaic, to their credit, do mention that the edits and occasional distortion are in the master tapes and are not fixable.

A great set indeed, and a great intro. to Carmell for someone like myself who hadn't heard much/any of his stuff before. I especially like the dates w/ Gerald Wilson as the arranger - BRASS BAG and the earlier date w/ Bud Shank et al, the name escapes me as I type this. As for the Clifford influence, Carmell is quoted somewhere in the liners as saying that he wanted to express the same kind of ideas/feel/emotion on his horn as he heard Clifford do, or at least in the same SPIRIT and overall style of playing.