Dub Modal

Ok, is that first one a rendition of Summertime? The tenor at least plays some bars from it whenever they're on. Excellent tune. Is that also the stritch or is it something else? Love it. Also, love all the solo piano tracks on the even numbers. The first one is especially a beautifully played song. Track 8's solo is really bluesy...and is number 12 Duke? Really great, all of them. On Track 7, love the sampler or whatever it is that carves in and out. The bass player is great too. Number 9 is a standard right? Very upbeat and cheerful. 11 = brilliant Track 13 is trumpet butter. And number 15 is a B3 solo but good god they can play the bass line on that thing. I love those pulsing bass notes that good organ players produce. Jamming! Looking forward to the reveal as I have no idea who any of these artists are, as well as the fact that to me there were no bad or uninteresting songs played.

Thanks to you both. I've long been skeptical of just about anything Iverson claims, to the point that I basically avoid his writing. This Crouch obituary does nothing to change my mind.

Well, reading through Shipp's FB posts now and I have a new perspective of appreciation for Shipp, Sam Rivers, John Farris, Cecil Taylor, Sunny Murray, Beaver Harris and some others.

From Iverson's obit: " When he started assembling the repertory institution Jazz at Lincoln Center in 1987, Wynton Marsalis was advocating for the primacy of the Black aesthetic at a time when the white, Stan Kenton-to-Gary Burton lineage dominated major organizations like the Berklee College of Music and the International Association of Jazz Educators. The music of Kenton and Burton has tremendous value, but their vast institutional sway and undue influence in jazz education is part of this discussion. We needed less North Texas State (Kenton's first pedagogical initiative) and more Duke Ellington in the mix, and Marsalis almost single-handedly corrected our course – although Marsalis himself would give Crouch a lot of the credit." Is this true? It reads like hyperbole

What year was this tour?

It was either on this site or another (Hoffman or a blog - or maybe a liner note somewhere) that someone told of an anecdote in which Clifford Jordan was asked why he and Gilmore didn't record another date together and Jordan's response was something along the lines of he tried but "The Bright One wouldn't be too happy about it." So that may be a clue as to why his discography is devoid of his own leader dates and why his sideman appearances with other artists are few.

That's interesting. A few weekends ago I was hanging with some friends whose 10 y/o son plays alto sax. He loves playing and was lamenting that he had to sacrifice both band classes (concert & jazz) because he wanted to take Spanish. The teacher wouldn't allow him to just take jazz- his favorite of the two - without taking concert along with it (parents also pushing him to take Spanish). Anyway, he had made a recording of himself over a click track where he played both alto & piano (can't remember the standard) and I was happy to listen to it. While he was bemoaning the fact that he had to play with a bamboo reed, I have to say his sound reminded me of that older tone - like the tone of Pepper, Getz or Hodges - more gentle with that wood/metal type resonance that I hear out of those classic recordings. So, definitely understand the difference you're describing here. Regardless, I was shocked at how good he played at 10 y/o, not to mention he doubled on sax & piano. I did as much as I could to encourage him and gave him a list of sax players to check out (he was loving Desmond on Take 5). McLean was included, of course.

The Spring Rain Snow Dog reissue CD sounds really loud to me. It's the only one I have but I've always wondered if the others are EQ'd the same. Great album, love just about the entire output from the label and hate to hear the reissue program is on the rocks. It's a label that deserves some quality attention. Would've been great if it had gotten the Mosaic Bee Hive treatment.

I enjoy later McLean, but am ignorant of all the behind the scenes drama - and have zero knowledge of how various sax brands sound. To me, the albums I've heard sound plenty inspired. Guess ignorance is bliss in this case.

Nice. And while I like the cover art, to me it resembles Brubeck more than Evans but maybe my perspective is askew. Either way, the prior recordings of this trio from Resonance are enjoyable (in that I didn't notice any rushing). Perhaps DeJohnette had a similar effect on Evans' playing as Manne, and kept things on track...?

This forever x1000.

Are the Mighty Quinn CDs released as CD-Rs? I've seen allegations online that they are but haven't confirmed.

A Hip Hop Golden Age Who's Who on that cover.

When I think "muddy" my mind references tracks like some of those from Sun Ra and some early digital transfers of Lester Young and other artists of that era. I've never heard an ECM CD sound anything like that. Reverb is definitely used but like most I wouldn't equate that to muddy sound.

I haven't heard enough ECM albums to put a top 10 out, but what I've heard I like - some Charles Lloyd, Frisell, Hal Russel, Stanko, Abercrombie & Stenson among others. Stanko's Soul of Things was a bit dense at first listen but has since opened up for me a little. Really enjoy some of the earlier Steve Tibbetts records - Yr., Safe Journey & Big Map Idea. Only one that didn't wow me so far Jarrett's At the Deer Head Inn which, at least at first listen came across as kind of bland. Someone mentioned Trio Beyond's Saudades up thread and have to say Larry Goldings is amazing on that record.

Excellent BFT man. Loved most of it but especially the second half. Songs 7-12 are just killer. Also became a big Badrena & Cardona fan after hearing that final track because they tore it up.

The Powerhouse Sound Oslo/Chicago: Breaks album is a good one. Hard rock-ish in a way but with some strong drum & bass playing. Have only really heard some DKV after that and those are good as rec'd above.

I got the green vinyl version they put out a little earlier this year. Looks like VMP also did a color variant. Great record. The legit RGM label does some good work.

Not too long ago I was in the mood for some Evans trio work and threw on Explorations. I found it awful, like Miles Davis reacting to Cecil Taylor awful. Moved on to some Monk and that scratched the itch. Interesting mention of Manne, who was Evans' drummer earlier in '68 before DeJohnette and Morrell. Again, I haven't noticed any rushing when Manne was there but this convo now has me curious.

Yeah, me too.

Interesting. I'll have to check out the Keystone material. Of the Resonance releases, I have the other 2 with DeJohnette - Some Other TIme (which has Jack extremely low in the mix, almost inaudible for most of the recording) and Another Time from Hilversum, which are both from June of '68 - a few months before the Lugoff's set. Another Time has "Who Can I Turn To" which is not on Some Other Time, and neither have "Waltz For Debby". I feel like I should revisit these to see if there's any noticeable rushing...haven't noticed before but my ear isn't exactly trained. Not a drug abuser, but I know and have known several. Yayo was big for many in college and it definitely effects future behavior for those who become addicted. I'd wager it definitely contributed to Bill rushing through songs - the brain manipulation would probably cut off or stop short any sort of empathy/synergy with band members along with the audience. Edit to add: Maybe the rushing has something to do with Morrell as drummer in a live setting as well?

I've read complaints (possibly in customer reviews) that there was some rushing through songs on that '64 trio with Philly Joe. Some ascribe that to Jones pushing the tempo, but I'm not so sure. Have you also noticed any rushing during those final recorded performances from the Keystone Korner Last Waltz performances? I haven't listened to them so I don't know.

I've since picked up the albums from #s 4, 8 & 10. Several more to go with that Brackeen at the top of the list.

Some great tunes here. Thanks for putting this one together!

This is a good reference for what put the USPS in a troublesome spot and some steps that could be taken to improve the situation.