sonnyhill

This will definitely be one of my top 10 of the year. I saw this group last month at the Village Vanguard last month and they were amazing live. They had a deeper "funk" vibe than what was hinted on the album. I hope Mark soon issues a release under his own name on Savoy. "Dharma Days" is a classic. I put it in the same category as Moran's "Black Stars."

I saw Mark Turner a couple of times this week at Fat Cat in NYC. He was in a quartet and not a trio. His bandmates were: Ben Street on bass; Ethan Iverson on piano; and Billy Hart on drums. It was an unusual 3 night mid-week engagement. They were there Tuesday, Wednesday, and Thursday. I went on Wednesday night and Thursday night. Fat Cat was very well attended on both nights that I went. On Wednesday, Street was late so the show did not start until 10:40, despite the fact that the show was I believe was incorrectly advertised to start at 9--Fat Cat usually has a late 10 P.M. start time. However, it was worth the wait. While waiting for Street to arrive the band had a rehearsal session and practised some of the tunes that were later played and "Iverson's Odyessy" from Mark Turner's album "Dharma Days." I only stayed for one set on Wednesday. The band played mostly originals. The band did not call out the tunes, but they started with a blues. That performance disproved allegations that Mark Turner cannot play the blues; he was incredible. They played an Iverson original ballad that I later found out was called "An Unlikely Romeo," and a tune named after Billy Hart's mother, which I believe was called "Ira." Iverson had a trio feature of "These Foolish Things." They played a few other tunes that I do not remember. The set lasted about 75 minutes. Although, I was tempted to stay, I had a really rough day at work and planned to stop by the next day. On Thursday when I arrived at about 9:20, the band was rehearsing Sonny Rollins' "Airegin" minus Billy Hart who had not arrived. The first set started about 10:20 and was comprised of almost the identical program of tunes from the First set on the previous night. I stayed for the second set in which they played, inter alia, a Hart tune called "Lorca," Wayne Shorter's "Etcetera," "Airegin." The second set ended with an incredible Hart drum solo. If I ruled the world it would be mandatory that performances of that caliber be recorded for release to the masses a la "Live at the Plugged Nickel." Next time I'm bringing my MD recorder.

Sam Rivers - Contours

Another vote for Black Stars. Definitely a classic!!!!!!!!!!!!!

Hey Deep Groove, I was there on Tuesday(Billy Hart was late). It is definitely an engagement that should not be missed. The VV was jazz heaven for the few brave souls who showed up despite the blizzard. Your review was on the money. I agree with you about Byron's first long solo, but he was just warming up. I stayed for the second set, it was also great. I will probably try to make it another night this week. The guy sitting next to me recorded it on his md player. I didn't notice until he was about to leave or else I would have given him my address and tried to get him to mail me a copy. The Miles piece they played was a medley of "In a Silent Way" and "Shh/Peaceful." If you live in or are close to NYC, DO NOT miss out on this one. It definitely will be one of my jazz highlights of the year. In two weeks, Mark Turner is playing the VV with his "FLY" Trio. I will be there.

I saw JD Allen last year the the Jazz Gallery in NYC in a quintet w/ Roy Hargrove. Great set. I'll be picking up his "Pharoah's Children." Great thread.

jlhoots, I'm in agreement with you. I am thankful that Pi put out this record and that the music is great, but in 2003 there was no reason for such a poor recording. I have late '80's Blue Notes that were transfered from analog to digital using first generation technology that sound better than "Tactiles." Thankfully, it does not detract too much from the excellent music.

So I'm not the only one. I am between homes and my audio equipment has been in storage for some time, so I've been listening to this on headphones and have thought, Like Larry, that although the recording was by no means as bad as the crappy Moran and Lovano discs that Blue Note released last year, the disc suffered from a sub-par recording. I like the disc a lot and thought that I would like the recording better if I heard it through my system, but Larry's comments confirm for me that this disc was not recorded as well as it should have been. In my opinion, this guy Kurt Lundvall is in the process of earning the nickname "The Butcher" or "Poison" for his horrible work last year. I know he's related to the Blue Note records president, but I hope that, in the future, artists put their collective foot down and refuse to allow him behind the boards. He sucks incredibly. Greg Osby is recording a live set at the Jazz Standard next week with his "St. Louis Shoes" Band, I hope that he has the good sense not to use Lundvall. That being said, "Tactiles" is still worth a listen. Shim is a monster. I've seen Ellman/Shim w/ bass drums on several occassions and it is almost criminal that this guy is not releasing records as a leader every year. Somebody needs to pick this guy up. From what I read on this board, his "Turbulent Flow" left a good impression on many listeners. Last year, he lead a few dates at small clubs in NYC, but I wasn't able to attend. I hope that he and Ellman get to record another record together soon, with no involvement by Lundvall.

Hard to describe his playing style. He's kind of like Wayne Shorter in that you can detect the influences of the greats on his instrument in his playing (Wes Montgomery and Jim Hall come to mind), but he has a sound all his own.

Greg Osby and the St. Louis Shoes band will be performing at the Jazz Standard in New York. The performance will be recorded for future release. I hope Blue Note gets it right this time after the nearly unlistenable "Bandwagon." I will definitely be there. I have not gone to the Jazz Standard since the restaurant upstairs was converted to "Blue Smoke," which offers barbecue and is very well regarded. Jazz Standard

I purchased this from the leader, guitarist Liberty Ellman, at the Jazz Gallery in New York last fall, but I've just recently had time to really listen to it. It's a very good album. Mark Shim (who led an excellent date, "Turbulent Flow," on Blue Note) on tenor, Greg Osby on alto on some cuts, Eric Harland on drums, and Stephan Crump on bass. I've seen the band several times, and I saw them this past Tuesday at Sweet Rhythm in New York, which is holding a special series every Tuesday this month called "Greg Osby Presents" where "young and exciting" talent is featured at the club. I believe that the cd was released in October or November last year, but its on a small label, Pi recordings. Anyone else give this one a listen?

Perhaps he monitored on headphones only, and since all models sound different, it may have sounded fine on his, but not on others or speakers. If so, a newbie's error ..... Very possible. BTW, Lovano defended Lundvall in a recent letter to (I think) Downbeat. He said that he wouldn't have released something he felt was inferior. Lovano didn't have to go to the local record store and pay $18.99.

I was at the VV the week the cd was recorded. The music is great. But, I agree that the poor recording quality is simply inexcusable. Live recordings have been made at the VV since the Colossus in '57. Recording technology has improved since then, but you would not know it from this cd. I was very disappointed, especially with the prices that are being charged for jazz cds these days ($18.99 + tax). What is even more confounding is that Joe Lovano's live VV cd suffers from the same poor recording quality. I love the music, but the shitty sound quality does f it up. It should not have been released in this fashion. It does a diservice to the good music, and I haven't listened to it much due to the f'ed up sound quality. There is no good reason for a recording to sound like that in the 21st Century. Don't make excuses for this type of bullshit (Moran or not)!!!!!!!!!!!!!!!

I caught Mr. Pelt this past weekend at Fat Cat in NYC. On his website, the appearance was listed as featuring his "Creation" band, but his "Creation" band was not featured. A few of the members were the same, Mike Moreno on guitar, Tommy Crane on Drums, Derek Nievergelt on bass. But there was no vibraphonist and no reed player. Instead there was an keyboardist, whose name I cannot recall. This was Pelt's electric funk band. It was Pelt in a Miles Davis "Live/Evil" mode. He did not play any of the tunes that I was familar with him playing. It was great, but you could tell he was experimenting. He used a Harmon mute and a pedal and, at one point, sounded similar to Miles Dewey the III with much better chops. I know there are a lot of people who are against keyboardists, but I think they work if the instrumentalist, who is usually a pianist by training, does not treat the instrument like a piano. The keyboardist at this performance understood that and was excellent. I am an unabashed supporter of Pelt's "Creation" band, which must record soon. On his interview with Sirius radio he says that he is going to record with that band in '04, which will be a blessing for anyone who has ears. But when he gets this electric thing together watch out. While I was at Fat Cat, I was thinking that in a very short time when this band gels Fat Cat will be the Cellar Door reincarnated. If he puts MP3s up of his October 25 show at Fat Cat take a listen and you'll know of what I speak. I haven't heard Pelt's latest recording. I'll eventually buy it to support him, but I was disappointed that it did not feature him in a more progressive setting. Hopefully his next recording will.

I'll third Parker's Scrapbook as one of the best of the year. But the highest honors go to Osby's St. Louis Shoes.

Saw Mr. Shim last night at the Jazz Gallery with Liberty Ellman's Quartet. He is definitely the BEST tenor I've heard this year. This month in NYC has been a jazz lover's paradise with more quality events than you could shake a stick at, but last night's quartet so far is the best performance I've seen all year. I saw Shim and Liberty earlier this year with a different rhythm section, but it was nothing like last night. Shim is officially coming into his own. He is definitely influenced by Joe Henderson, but he is well into the process of developing his own sound. Last night I also picked up a copy of "Tactiles" the new release by Liberty with Mark Shim on tenor. Have not had the chance to listen in dept, but you should pick it up.

Check the Pelt website. He has new mp3's up and an interview from Sirius (sp?) radio.

I believe the Pelt show at Tonic was canceled due to the blackout. However, a few weeks earlier I caught Pelt at Fat Cat as part of Wayne Escoffery's Quintet. They played a version of Wayne Shorter's Fall which was amazing. The band punked out and only played two sets because it was too hot, which was bullshit and unprofessional in my opinion. Unfortunately, there are no listings for Pelt's Creation in the NYC area in the near future. I still hope he gets to record with that band soon.

I saw him a couple of months ago at the Jazz Gallery in NYC in a quartet with Liberty Ellman on guitar, Humberto Kavee on drums, and Drew Gress on bass. He sounded really good. It is a shame that he has not had a recording out in a while.

Woody is definitely my favorite trumpeter, and to me the last truly great trumpeter in jazz. I highly recommend the Highnote live recordings. They all have their high points, but I like Vol. 3 the best. I only discovered Woody earlier this year, and was able to snag all of his Muse/32 Jazz recordings before they went out of print. Savoy now owns those recordings and is slowly releasing them. I did not purchase a copy of the Woody Shaw Mosaic and, of course, I am now regretting it. However, as soon as I am able, I am going to purchase a turntable and get all of the Woody Columbias on vinyl since there is no telling when they will be rereleased on cd. I also think that Demon's Dance, a Jackie McLean date with Woody on trumpet, would make a wonderful Conn. or RVG. Additionally, If there is enough extra material, it would be great to have a Woody Shaw at the Village Vanguard Mosaic Select. Additionally, there are several other Woody Shaw titles that are now out of print that would make for a superb Mosaic Select.

I have been raving about Pelt for a while (see the New York Jazz concerts thread). You have to see him live. He is definitely the real deal. And what is so great about him to me is that he is so anti-WM, meaning that he is open to all music and does not appear to be an idealogue. But he can play the shit out of that horn (and is still developing). [The next 10 years for jazz look real good with people like Greg Osby, Jason Moran, and Jeremy Pelt around. Like De La Soul, the Youg Lions are DEAD. These new guys are not afraid to let jazz grow.] But it is just not Pelt, it's his whole CREATION band, which is featured on some of the mp3s on Pelt's website. Tommy Crane, who is the drummer, is only 16!!!! He is f'ing awsome. Myron Walden is on reeds. Warren Wolfe is on vibes. Derek Nievergelt (sp) on bass. Mike Moreno on guitar. There are no weak links. The band is similar to Miles's mid-sixties quintet in the level of potential greatness of its members--they all can and probably will all be leaders. The instrumentation is awesome. The Mp3's are great, but they do not do this band justice. I have seen them twice and they are, at the moment, my favorite band. I had to miss seeing them this week at Sweet Rhythm (they played there Wednesday and Thursday) [i'm in the NY area if you haven't figured that out already] because I checked out Mark Turner and Ethan Iverson at the Village Vanguard on Tuesday (another fabulous show) and family obligations forced me to choose between the two. I was at the show featured on the Fat Cat Mp3 on Pelt's website. I stayed for all three sets. If the world were right, this band would have a recording contract. They played all Pelt originals and it was, as J.J. would say, dyn-o-mite!!! The only knock on Pelt's writing is that some of the tunes sound similar. But as Rooster_Ties wrote it appears that he is the next great trumpet and I hope he will take his place in line after Woody Shaw [Marsalis will always be in a footnote because of his raging arrogance and stupidity]. I was a little disappointed that Pelt's first disc on MaxJazz will feature ballads, because he definitely has more than enough interesting originals to fill up an album. Jeremy Pelt's next NY appearance is at Fat Cat as part of the Wayne Escoffery Quintet next weekend; I will be there. The CREATION band plays at Tonic on August 15--I will be there. There is no good reason why a record company has not signed this band to a recording contract. It really would be criminal if the Creation band did not get to make a record. It would be criminal if the Creation band does not get to make a record soon. It is a crime that the Creation band has not recorded. The police should arrest someone because the Creation band has not made a recording. Max Jazz better let Pelt record with that Creation band. Great Idea for a thread!!!!!

I usually do not upgrade. However, although not an RVG, I jumped on the remastered version of Milestones because the previously released version had horrible sound. So far that is the only title that I purchased twice. However, I plan to purchase the upcoming release of Morgan's '"In Search for the New Land" because Lee Morgan's Trumpet sounds horrible on the previously released version.

I'm with you Gary, "You Don't Know What Love Is" by Sonny Rollins on Saxophone Colossus is the definitive saxophone ballad. Nothing comes close.

My vote would be for a set of the complete Woody Shaw "Stepping Stones" recordings from the VV. As far as I know, "Stepping Stones" has never been released on cd and it has been rumored that there is much unreleased material from that engagement. Also, a set of Woody's Elecktra recordings would make a great Select. I've yet to purchase a Select, but I have my eyes on that Carmell Jones which everyone says is so great.

Nothwithstanding the Jazz Times cover story, this release was not as heavily promoted as some of Osby's previous releases. It was not featured on the BN website until just a couple of weeks before it was released, which seemed unusual since Osby is one of BN's signature artists. In any event, I picked it up on Friday. It is fabulous. I usually shy away from standards (and tribute) albums, but Osby really has perfected the art making bold, innovative statements with standards (without using gimmicks). He takes standards and reconfigures them, but he retains that essential part of the tune that made it worthy of becoming a standard in the first place. This will definitely be one of the best new releases of the year. Highly recommended!