freeform83

You could always stop! I'll take it under advisement but I'm a little too obsessive for that.

I'm asking about this particular kind of "pastoral" free jazz that Brown was working with at the time, as opposed to his earlier hard bop/free bop/inside-out/whatever albums. But I have a feeling that Afternoon of a Georgia Faun is somewhat unique. I, for one, have never heard anything else like it. So are you saying that the song on the Budd album is on Vista as a different version? That's strange because I thought it was written by Budd.

Return to Forever has been discussed so much that I wanted to bring some focus to his second (and more productive) period on ECM: the early 80s.

Thanks Guy, and everyone feel free to add comments on Geechee Recollections (Impulse, 73) or anything else that may be in a similar vein. Sadly, the only other 70s Brown I have is Harold Budd's Pavillion of Dreams (EG, 78), where he plays alto on one track. It's essentially an early New Age album, slightly more varied and intellectually challenging, but nothing that great.

The idea of Hutch "selling out" is really what has kept me from getting any of his music after the early 70s. But now that I've pretty much tapped all of his early material, there's really no where else to go but forward. I figure Cirrus can't be bad with Woody Shaw on it and a cover that looks like Head On. I will get the Mosaic at some point this summer and come back with my thoughts. In the meantime, I appreciate all of your opinions.

Maybe the reissue series is regarded as a cultural and prestige component of the parent operation, a non-financial asset like TCM is to Time Warner.

So have the profits definitely declined since the reissues started?

I guess I have always taken the RVGs for granted, without really considering the underlying financial considerations. People are talking about EMI pulling the plug on the reissues, but does anyone have any idea about the actual profit margins? I assume they are not actually losing money on the reissue series? And if Cuscuna has all of this in mind, this idea of a sinking ship, then why isn't he trying to release the more notoriously elusive material like the Tyrone Washington album?

Where my Hutcherson fans at?

Why does stuff like this never come to Oklahoma?

Any idea when Larry Young's Contrasts will be out? I am acquiver with anticipation, chomping at the bit, and generally waiting with baited breath to hear this album.

This period of Chick's work strikes me as being 1) his most consistent since the mid-to-late 60s, 2) easily his most underrated, 3) something of an artistic comback, or, in the alternative, 4) an oasis of acoustic creativity between Return to Forever and the Elektrik Band. These are the relevant albums: Chick Corea and Gary Burton in Concert (Zurich, October 28, 1979) -- don't have this one, or the earlier ECM with Burton for that matter Trio Music (81) -- my favorite Chick Corea record, a return to free improv but with a new sense of maturity and greater restraint than Circle (completely disagree with the AMG review that this "was no longer as natural to Corea"), and a lot of Stravinsky influence; the Monk covers are nice but less intriguing than the main part of the album Lyric Suite for Sextet (82) -- don't have this either, not a big Burton fan Children's Songs (83) -- somewhat less impressive, with moments of great Impressionistic beauty but also a lingering sense of sameness and a feeling that Corea could sit down and play as many albums like this as he wanted Septet (84) -- this is exactly what you would expect from a scored "classical" album by Chick Corea, with frenetic playing by the Septet and what sounds like a heavy dose of Stravinsky and Bartok; "The Temple of Isfahan" is actually my favorite piece, but I would take any of this over the Elektrik Band Trio Music: Live in Europe (84) -- looking forward to hearing this but doubt it will be the equal of the 81 album Voyage (85) -- a near-masterpiece of piano-flute duets with Steve Kujala that captures Chick both at his most lyrical and his most defiantly modern; Kujala's tone is almost unbearably beautiful at times and makes me want to play the flute

I also want to add that Head On is my favorite Hutcherson album, and one of my favorite albums of all time (almost a personal obsession). I have no Hutch after Live at Montreux (73), which is also quite good, probably 4 stars out of 5.

I searched for the Hutcherson Mosaic and found no threads (except for one about people waiting for it to come out). Basically, I am looking for opinions -- as detailed as possible -- on the music itself: --How does it compare to his 60s classics? --Are there any free/avant-garde tracks? --What percentage of the songs are painfully cheesy? --What is your favorite of the tracks/albums included?

The irony is that I can't delete the original post on this thread.

OK, I was being inconsiderate. I apologize. I really just wanted my posts to be there for future Marion Brown fans, and there were a few others where I was looking forward to responses.

...are this easily lost, then I don't think I will be posting anymore. But I will still check back every now and then.

So I should have started a separate list for sexiest drummers. But I'm still going to have to go with Meg...

But she is the most attractive drummer I've ever seen:

Tom Waits, who remains my favorite musician. However, after getting into Monk freshman year of college, it took me less than a year to find Eric Dolphy and free jazz. Some of the free-er stuff reminded me of what I loved about spacey pre-Dark Side of the Moon Pink Floyd (circa freshman year of high school) -- only more so.

Weird. There is an unsual emphasis on German oom-pah/Weimar cabaret sounds, and a lot of avant-garde touches. Gato seems to solo more than Burton. I just listened to this a couple of weeks ago and recall Burton being absent from some of the tracks. My bottom-line impression is one of disappointment. The album DOES NOT live up to its title -- surely one of the coolest titles I have ever heard -- as a conceptual or programatic piece depicting a Tong funeral. The tunes screams "interwar Europe" or "experimental jazz" but never "Tong." I can't imagine too many other Burton albums sounding like this. Alas, this is the only one I own, and I bought it used (from an unlikely place) -- because of the title.

Cool, I'm sure this "Seven Steps to Heaven" will make an interesting companion piece to the one on Larry Young's Of Love and Peace! Looks like I have a ton of Lonnie Smith, Reuben Wilson, and early 70s free funk to stock up on (to the extent that a law student making $10 an hour can "stock up" on anything).

Sort of carrying this over from the avant-grease thread... I may not be too knowledgeable about this issue, but the soundtrack to the movie SWEET SWEETBACK'S BAADASSSSS SONG actually reminds me a lot of the sound being discussed here. There are some arty free-jazz tenor sax squeals placed over deep grooves at certain points. It goes really well with the visuals and spirit of the film.

As far as Smith goes, I have only Think! (Blue Note, 68). I do like it, particularly that "Call of the Wild" track, but don't know if it's quite the "perfect mix of funky soul and forward-thinking jazz" that AMG would have us believe. Still, I'm looking forward to hearing Mama Wailer, especially after your recomendation.