Ron Thorne

"Art Pepper, why he was the best?, Emotion in jazz" This thread title struck me on several levels. The "best"? Was he? To whom, on what day, and in what context? Isn't this an extraordinarily subjective question? While a fan of Art Pepper, when I think of or see the word "Pepper", only two things come to mind ... a condiment/spice (lower case) and Jim Pepper. Some posters here are well aware of my appreciation for and non-stop support of the late Jim Pepper's musical legacy. So, with all due respect, and while not attempting to derail this thread ... I don't have the energy or time at the moment to express my full feelings and/or detail my personal connection with Native American saxophonist Jim Pepper, but suffice it to say that he's one of the most under-appreciated and least known "monsters" who graced the jazz scene, at least in my humble opinion. And, he was a dear friend for many years. Some suggestions: "Comin' & Goin" (original Europa JP 2014) Island/Antilles 7-90680-1 recorded in May, June, August 1983 - This is the definitive statement of Pepper's unique "American Indian jazz" and a must-have for lovers of his music. Don Cherry is among the all-star lineup. "Dakota Song" Enja 5043 (CD-34) King K32Y-6225 (Japan) recorded April 1987, with Kirk Lightsey, piano; Santi Debriano, bass; John Betsch, drums. "The Story of Maryam" with the Paul Motian Quintet. Soul Note 1074, recorded 7/83; "Jack of Clubs" SN1124 recorded 3/84; ' Misterioso' SN 21164 recorded 7/86 Motian, drums; Ed Schuller, bass; Bill Frisell, guitar; Joe Lovano, tenor. "Nightwork" with the Marty Cook Group. Enja 5033 recorded 1/87 "Mal, Dance, and Soul" with Mal Waldron. TuTu 888- 002 (CD102) recorded 11/87, "Art of the Duo" TuTu 888- 006 recorded 4/88, "Quadrologue at Utopia" Vol. 1 TuTu CD 888118 recorded 10/89.

Eddie Gladden was a superb, inspired drummer, who received far less praise and attention than he deserved, in my view. I'm greatly saddened by his passing, though his contributions are legendary and many were recorded, thankfully. RIP, Eddie Gladden~

Yep, those compositions were/are very "real", alright. That group and album were way ahead of their time, in my humble opinion. Remember the hiring by Miles prior to this session? I was very fortunate to meet Anthony Williams in 1962 when we were each studying with the same remarkable drum instructor, the late Alan Dawson. For the record, I'm not about about to compare myself with Tony Williams, though we enjoyed some similar experiences at the same place and time. He was living in NYC with Max Roach, at the time, but commuting to Boston frequently for his lessons with Mr. Dawson. What does that tell you? I'm not sure exactly what your point was with your "Berklee mentality" reference, but would be interested to learn more, CJ. Tony was a phenomenon from the time he was a teenager until his untimely, likely preventable death. RIP, Anthony Williams~

Jim, I can't address all of your issues since I don't own a stand-alone burner. However, you should be able to find a 5-pack or 10-pack of Fuji blank CDs at an office supply store such as Office Max, or perhaps Fred Meyer, if there's one in your area. I've used Fuji CDs with flawless results.

What an interesting thread question. Well, I really like several mentioned earlier, as well as one previously unmentioned ... Les McCann If hard-pressed, I'd have to suggest, in no particular order: Bobby Timmons Ray Bryant Junior Mance Les McCann Horace Silver Ray Charles

I don't expect my purchase to "put you in the black", b3-er, but I'll gladly contribute to the reduction of your overhead. Not playing live would suck, indeed. "The RIAA can try all they want to stop file sharing or they can get with the times and create a new business model." Amen.

Ron, Pilsner Urquell gets a nod from me, as well. On the homefront, we're so fortunate to be able to buy some of the finest beer in the world, which is brewed in our capital ... Juneau. In addition, Anchorage has a handful of really cool brewpubs. Among my favorites in bottles: Style: Alt. The name of this beer style comes from the German word “alt” meaning “old”. This refers to the aging that alts undergo since they ferment more slowly and at colder temperatures than most ales. Slow fermentation helps condition the flavors in Alaskan Amber, contributing to its overall balance and smoothness. Flavor Profile: Richly malty and long on the palate, with just enough hop backing to make this beautiful amber colored “alt” style beer notably well balanced. History: Alaskan Amber is based on a recipe from a turn-of-the-century brewery in the Juneau area. It was voted “Best Beer in the Nation” in the 1988 Great American Beer Festival Consumer Poll. Ingredients: Water, malt, hops and yeast with no adjuncts, no preservatives and no pasteurization. Our glacier-fed water originates in the 1,500 square-mile Juneau Ice Field. The malt is a rich blend of premium two-row Pale and Crystal malts. Cascade hops from the Yakima Valley and imported Czechoslovakian Saaz hops impart bittering flavors and aromas. Style: Extra Special Bitter Ale. Alaskan ESB is darker and hoppier and is brewed and fermented at different temperatures than our popular Alt-style Amber. It has an exquisite copper color derived from Crystal malt and an aggressive, yet pleasant hop character. Flavor Profile: Malty with roasted overtones, Alaskan ESB has a crisp finish resulting from the use of premium Northwest hops. History: Originally a popular seasonal, Alaskan ESB joined our year-round product line up in 1996. Ingredients: Water, malt, hops and yeast with no adjuncts, no preservatives and no pasteurization. Our glacier-fed water originates in the 1,500 square-mile Juneau Ice Field. Crafted from Crystal and two-row Pale malts, with cascade and Centennial hops. Recommendations: Complements spicy Asian and Mexican food, robust soups, stews and other winter fare. Ideal with wild game.

If this company (Wood Technology - Metal Technology) considers Alaska a part of the "continental United States", I'll be shocked and pleased. Most companies are not even hip to the fact that we use the same currency as the rest of you. Trust me.

Rooster, since I'm a relative newcomer to this site, I have no idea as to your marital status, etc. However, as a father and grandfather, I can safely state that if you're not already a father, you're a "marked man" once you become one. If you're a father, you have grandfatherly duties awaiting, etc. I can't/won't address the weaponry displayed here. Rooster, what was your initial interest in Hello Kitty?

Thanks so much for sharing your work with us, Noj. I can relate to how difficult it is to relinquish your creations. What wonderful work! I view what I've seen here as "inspired illustrations", which is not a way of adding or detracting from your wonderful talents, but rather a simplistic way of describing them. Since my oldest son and I have each been artistically engaged for a long time, I especially appreciate your contributions here.

I was impressed with this piece on several levels ... the amount of coverage given to Tom actually performing, including comments from a bandmate, and Charlie Rose's typically kind, yet incisive interviewing style. I'm also mightily impressed by Tom's wife, Angela. When I used the word "brave" earlier, I meant that in the sense of heroic. What a pioneer is Tom Harrell.

Thanks for the heads up, my friend. I'll definitely tune in. Tom Harrell is not only a superb musician but a brave individual. This story needs to be told.

Yes, especially those smaller cafes and restaurants which haven't been hyped and overrated. While I dig visiting Santa Fe, there are aspects of the downtown scene which remind me far too much of Beverly Hills. The hipness factor has gone off the map with some. I love New Mexican cuisine, however. I've never eaten at Harry's Roadhouse, which is now on my list. Ah yes, "Christmas" chile (red & green). I buy New Mexican chiles in our supermarkets to make some delectable chile sauces. When those green chiles from Hatch, New Mexico start appearing in restaurants, it's almost a religious experience. I love some of the restaurants in and around Las Vegas and Taos, especially this one in Chimayo, for a really special treat. Posole, it's not just for breakfast anymore!

Thanks jad. I'd be interested to learn if your impression(s) of Aura change after another spin. Thanks for the confirmantion, Dmitry. Both king ubu and jazzbo make sense to me, and brownie's comments are dutifully noted, though I haven't seen this film. As with many recordings which feature rather complex compositions, listening to Aura on high-quality headphones can prove beneficial. Cheers~

My apologies for moving the thread topic off track. I was just complaining about this myself on another thread, so I now have egg on my face. Thanks for the info, bn and Jim R. Cool! I didn't know what function Close all Tags served. Now I do.

FALSE! Sorry, what was the "question?'' Also, how do I utilize these other wonderful features such as FONT, SIZE, COLOR, http://, which I'm already familiar with on another board? It doesn't work the same here, though it looks the same. I'm very frustrated with these four features!

I love it! The thread title poses the impossible question, to paraphrase, "Who is the single artist you listen to the most?". Is anyone paying attention to the actual responses? Here's a typical one: "Good thread! Coltrane, Miles, Mingus, Duke, Bill Evans, Blakey, & Jackie McLean... " I counted seven "single" artists in that response, alone. I can't answer this thread question, because I simply don't have a clue. Which day, week, month or year are you inquiring about? I'm easily confused, though. There are many artists who rank among my favorites, but I don't listen to one favorite artist to the exclusion of others. Nor do I have a sense of having spent a great deal more time listening to one favorite artist than others! Depending upon the moment: Miles Davis Julian "Cannonball" Adderley John Coltrane Bill Evans Michael Ruff (who?) Charles Mingus Steely Dan (yeah, I know that's more than one "artist") Rahsaan Roland Kirk Dave Burrell AWB Kenny Wheeler Gerald Wilson Gary Burton Enrico Pieranunzi Habib Koité Tower of Power et al Get the picture?

I'm assuming that was a tongue-in-cheek response, Dmitry. You'd likely need to say something a great deal more provocative or aggressive than that to "incur my wrath". While I'm well aware that thread topics (here and elsewhere) wander, I'm often more perplexed when someone posts something which relates to a portion of a topic but not necessarily the specific one, such as in this instance. For the record, I have neither heard nor seen Dingo. I'm still interested in Jad's opinion. The topic at hand:

Thanks, RT. I'm hip to that, though certain types of "detours" can be a real source of frustration for me. By the way, I sure wish I knew how to quote two sources within the same response. Hint, hint.

Ummm ... Jad, with all due respect, this thread was solely focusing on Miles' album Aura and its impact upon us within his oeuvre. What are your impressions of the album under discussion?

Hi Big Wheel- I just discovered this thread by way of another, which you can probably guess. I don't know if the following will prove to be helpful or not, but several nerves were struck when I read the few posts here. Our youngest son just returned from a ten year stay in Japan, largely in the Kansai region. My wife and I had the pleasure of visiting him there in 1995, and among other places, we spent considerable time in Kyoto and Kanazawa. He's fluent in japanese and had his own car, so we had the best travel guide possible. Our son is also a jazz fan, though not quite as "addicted" as me. However, we did some music shopping in Kyoto and I found some fine collections in a store called Riverside Records, which has moved since we were there, so I'm not hip to their "new" location. Also, after talking with Justin on the phone tonight, he recalled another music store in Kyoto (name didn't come immediately to mind) in which he also found a good selection of jazz. He offered some landmarks to help locate it, though. It's near the Sanjo Bridge (on the Starbucks Coffee side of the river), near a camera shop, in a 7-story retail building. Take the elevator to the 6th-7th floor. He said they also have a considerable amount of vinyl available. We didn't shop for music in Kanazawa, although it's a sizeable city, and is certainly not an "outpost" or the "boondocks". Far from it, though it's not Kyoto, either. We really enjoyed both cities and have fond memories. If I think of any other resources in the region, I'll add them. Please let me know if you have questions or if this has helped, ok? * None of this information was gleaned from Google or other online sources, but rather from actual people who were actually in Japan, either visiting or living there.

Gotcha! Yep, that too. I sense that the greaze from my Dad's regionally-famous barbeque was a precursor to some of the musical greaze I later heard and appreciated when I discovered jazz expression. For instance, Jimmy Smith's Trio at the Howard Theatre in January, 1962 as one of the opening acts for the Miles Davis Sextet.

Perhaps you meant to say "forgettable"? In any event, it's curious that Miles didn't agree with your assessment of this particular session, apparently. I think many of us here would be quite interested to learn more about your relationship with Miles Davis.

My thanks again to everyone here for their generous, warm welcome. Special thanks to BFrank for the link.

I hadn't listened to Aura in quite some time, so this thread inspired me to pull it out and give it a spin. I'm glad that I did for several reasons. There are some interesting connections which I have with this album, including a newly discovered one. Please indulge me. When my wife and I visited our youngest son in Japan several years ago, among other things we shopped for was music. I found Aura in a very hip, well-stocked store in Kyoto and purchased it. I've always liked it, immediately drawing some connections with Miles' earlier work with Gil Evans, and for good reason, apparently. I must also say that I wasn't a huge fan of much of Miles' output during this timeframe, but something about this recording captured my imagination and fascinated me. Yes, Palle Mikkelborg is credited on my pressing as both the producer and composer. The complete quote from Mikkelborg concerning his motivation(s) to write Aura follow: "Aura was composed when Miles Davis received the Sonning Music Prize in 1984. It is my tribute to him. I called my composition "Aura" because I wanted to project my impression of an image which reflected Miles's musical aura. Miles said to me: 'You must have been following.' It's true. Since the first time I heard "When Lights Are Low" (a revelation), his sound and musical universe have been very important in my life. Musically, Miles is to me what a Zen master is spiritually. Thanks, too, to Gil Evans for life-long inspiration. Thanks to my guardian angel for making this possible" - Palle Mikkelborg Now, fast forward to last month, when my wife and I were in the Pacific Northwest on vacation. Among many wonderful moments was the full evening we spent at Tula's Restaurant & Jazz Club in Seattle. We were there to hear our friend, singer Lynn Bush, backed by the very capable trio New Stories, who also appear on Lynn's recording "Still Life". About midway through the 2nd set, two men appeared in the doorway, one of whom was carrying a trombone case. They walked over to the table next to Patti and me and sat down, inserted the trombone case under two chairs and ordered a drink. At the break, Lynn approached their table and chatted with them. I figured that it was a case of someone asking permission to "sit in", which was correct. What we didn't know, was that we were in for a real treat. The trombonist was Vincent Nillson, one of the finest jazz trombonists in Europe, who was visiting Seattle on some Lutheran church-related event. What an amazing player and warm, humble, friendly man. We had a nice conversation, exchanged e-mail addresses, and he promised to send me a CD of his. He did, indeed, and I'll treasure it. He was fascinated that we lived in Alaska, among other things. Yesterday, while looking through the liner notes on Aura, I discovered that Vincent Nilsson is playing 1st trombone on this recording. No surprise, now that I know who he is and have heard him play in two settings. He's had a relationship with Palle Mikkelborg for years, as well as the Danish Radio Big Band, and has performed with Stan Getz and Dizzy Gillespie as well as Miles. Small world, eh? In his autobiography Miles says of AURA: "I think it's a masterpiece, I really do".