Geoff

Hey Bev, A Local Store in Sydney, Australia has al ot of Astigmatic in stock. Birdland Records www.birdland.com.au You can buy a copy here. http://203.53.234.66/y/FMPro?-db=blwebprod...12648209&-find= Even after postage it may work out cheaper than buying it as an import.

Sorry about not getting to the review. I have my university exam tommorow! So I've been studying pretty hard. I'm not sure who to pick for the next week, so I'll think I'll choose 'undergroundagent' since he has already started a thread. A report will follow after my exam!

Krzysztof Komeda - Astigmatic Original Cover: Power Bros Reissue Cover: The Penguin Guide to Jazz pronounces that Astigamtic 'is not only the best Polish or European jazz records, but quite simply one of the best jazz records, full stop.' Looking through the previous AOTW I saw that there were very few european jazz albums. So when I thought I a european jazz album I could nominate one album came to mind, Astigmatic. (well if you exclude free jazz, I was going to pick Peter Brotzmann's Machine Gun, but decided against it) I agree with the comments in the Penguin Guide, this simply a superb album. An album that I would recommend as highly as Kind of Blue or A Love Supreme. The Quartet features Krzysztof Komeda (piano), Tomasz Stanko (trumpet), Zbigneiw Namyslowski (alto sax), Gunter Lenz (double bass), Rune Carlsson (drums). I will try to write a full review when the actual week starts. I look forward to hearing other people's opinion on this fine album. Thanks, Geoff

Thanks, JSngry for the nomination. I havn't heard this album, but I'd liked to check it out.

I quite like Madlib's Shades of Blue.

I wish probably to close this thread, and maybe get it deleted. It was my error and bad judgement. anyway here was the list off albums I was thinking of reviewing. Krzysztof Komeda – Astigmatic Mal Waldron – The Quest Charles Mingus – East Coasting Bobby Hutcherson – Dialogue Herbie Nichols – The Complete Blute Note Recordings Roy Brooks – The Free Slave Grachan Moncur III – Some Other Stuff/Evolution Elmo Hope – Homecoming Curtis Fuller – Volume 3 Sam Rivers – Fushia Swing Song Jackie Mclean – New and Old Gospel Lee Morgan – The Cooker Leroy Jenkins - Space Minds, New Worlds, Survival Of America George Lewis - The Solo Trombone Record Bill Evans/Jim Hall - Undercurrent Mal Waldron & Steve Lacy – Live At Dreher Paris 1981, The Peak Volume 2. Elmo Hope - All Star Sessions Roswell Rudd – Regeneration Eric Dolphy – Last Date Myra Melford – Alive in the House of Saints Dollar Brand – African Piano Big John Patton – Let ‘Em Roll Jaki Byard – Maybeck Recital Hall Series, Volume 17 Pete LaRoca – Basra Again, I stress that I would like to apologise for my actions, and I hope in the future we can get along fine.

anyway, please forgive. Like I'm never going to post a thread like this again. I didn't know that it could be taken as me being arrogant and perhaps a little over the top. But now I can see it, so I won't post anything like this again. I just hope you can forgive me and stuff. and please don't just post mean things on other forums. Many of these forums people don't know much about jazz at all. I just want to share my passion for the music that is all. I'm sorry again.

anyway, I don't credit my writing at all. And I agree some of the things I have said a ridicilious! Only such an ignorant 19 year old would ever write something so silly! Not many people from this forum post at I Hate Music, hence the duplication. Like I'm not one to blow my own trumpet, I don't think I'm a great reviewer, in fact looking back it was pretty bad idea to post this subject (in the way it is) in the first place. I hope you can forgive me, and my stupid ideas and silly threads which a far too one dimensional. Remember I've only had a few years in the game, since I only became really interested in music when I was 14. Some of you have been listening to music for as long as I've lived! So Again, I apologise. Please don't take anything I write to seriously. I'm more prone to mistakes than anyone! I'm just a little ambitious, and perhaps too ambitious! Sorry, Geoff.

I should get Mount Everest Trio "Waves From Albert Ayler" I know a wonderful store that stocks a lot of UMS stuff for like $15 Australian. They had a copy of the Mount Everest Trio in stock.

checked

I'm for it too. I listen to 20th Century Classical Music as much as I do jazz. People like Morton Feldman, Gyorgy Ligeti, John Cage etc.

Ganelin Trio - Poco A Poco This album was the first album released on cd by the British record label Leo Records. It also is one of the earliest recordings from the group that has been released in the West. The recording belongs to something of a triology of development. As suggested by Steve Kulak in the liner notes (he also happens to be the guy I bought the cd from) 'Poco A Poco', was the first of three amazingly important recordings. Each showing a clear development in terms of composition and sound from the other. The three albums are 'Poco A Poco' (recorded in 1978), 'Catalogue' (recorded in 1979) and finally 'Ancora Da Capo' (recorded in 1980). I have decided to concentrate on Poco A Poco not because it is the best of these three recordings, but rather because it is the earliest of the three recordings. The Ganelin Trio is comprised of Vyacheslav Ganelin (pianist/leader), Vladimir Chekasin (multi-instrumentalist, mostly reed and wind instruments) and Vladimir Tarasov (drums and percussion). Yet this isn’t any ordinary trio, often the members play multiple instruments at once. In fact when Leo Feigin (owner of Leo Records and the Ganelin strongest supporter) played a recording of the trio to Steve Lake of ECM records, Lake thought there were at least 5 members in the band. The music on Poco A Poco as quoted by Steve Kulack presents ‘an insanely accelerated history of jazz’. Not only does the band explore the many faucets of jazz, they are also display influences and themes from western classical music, folk and other genres of music. This idea is backed up by Chekasin own comments with an interview, whe he stated that the Ganelin Trio ‘borrow some elemtns not only from jazz but from chamber music, folk music and other genres’. The Ganelin Trio’s music, is not completely improvised, in fact all of the music is composed prior to a concert/recording. Much of the music played on Poco A Poco can also be heard on ‘Encores’. The performances aren’t carbon copies but they retain a similar structure. Poco 5 becomes ‘Who Is Afraid of Anthony Braxton’ and Poco 4 becomes ‘It's Too Good to Be Jazz’. Vladimir Chekasin was questioned on how the Ganelin Trio worked on composition, and answered ‘A piece may emerge spontaneously during a rehearsal, and then we work on the details. Or a piece may emarge “mechanically”: we take a structure and then work out the textural elements, colouring, charcacteristic features – this is traditional composing technique.’ Chekasin went on to say that he considers the music of the trio to be chamber music, where “aleatory” is strictly under control. The music as suggested by critic Efim Barban is ‘an organic unity of composition and improvisation’ The music on Poco A Poco (Little By Little), largely varies, from the ‘free jazz’ sounding Poco 1, to the contemplative, prepared piano of Poco 4, to the lyrical Poco 9, to the ‘cackling pirate lunacy’ (as described by Kulak) of Poco 10. To the near Ayler like playing of Chekasin on Poco 11. Efrim Barban writes that ‘The art of the Ganelin Trio is deeply provocative…althought is stirs the conciousness it does not give the answer. It questions. It is the music of an agnostic civilization.’. Blah, this is really bad review, some I’m just going to post it, hoping that someone else here can talk about the Ganelin Trio as well.

Damnit, man!! Get some! Now might be an opportune time as TOWER RECORDS is having its 25% off all jazz titles sale AND free shipping (on orders of $20+). As broke as i am, I just ordered the set for $36.74. I believe that I got the last 'in stock' set, but what the heck: for this price, let 'em backorder it and be patient. hey Chaney, I could have got you the Herbie Nichols box set new for around $39.95 AUS, which is only like $22 US. This is what I paid

has anyone here heard Leroy Jenkins' Space Minds/New Worlds/Survival America It is a pretty nice album, and I especially enjoy the song 'Through the Ages Jehovah', with it's subtle intereaction between Jenkins and George Lewis on trombone.

This is a tad inaccurate. Rutherford was the co-founder of the SME with John Stevens & Trevor Watts, & the SME is more or less identified with Stevens as the leader because it became a decades-long institution under his leadership, with many different shifts of personnel. This sentence strikes me as oddly as it would sound, e.g., to say that Horace Silver was the founder of the Jazz Messengers--not quite wrong, but missing a key name..... I was going to captiously point out that it's a bad mistake to point to the use of unisons on heads as in any way an innovation of Moncur's or Monk's--you'll hear that on just about any bebop side you care to name. But I see Jim Sangrey has posted a much more useful comment specific to this track (I don't know the track, as I haven't got Some Other Stuff). Thanks Jim. I've always liked Evolution a lot--there's also another closely related album you should hear if you've not already, McLean's One Step Beyond, the same band with no Morgan & with Eddie Khan on bass: I'm not so taken with it but it's still interesting. The original Blue Note reissue was badly botched (a crucial track index misplaced, into the middle of a track!), but I imagine it's on the recent Mosaic Select? -- That said, Moncur's never done much for me as a player--it's the composing & the great bands that make those discs. Like Herbie Nichols Moncur seems always to have had very specific images & scenarios in mind for his compositions--witness titles like "Ghost Town" or "Frankenstein", which are pretty accurate descriptions of the moods evoked. I entirely agree with Jim about the painfulness of reviewers who insist on using musical terminology to make a show of knowing-what-I'm-doing, but doing so entirely inaccurately or in an obfuscatory manner. God help us, I've probably committed a few sins over the years (the most aggravating being a review where I misidentified Rhodri Davies as playing "Celtic harp"--which actually a small handheld thing, not confusable for a second with the full-size concert harp he uses), but have found time & time again that my having spent a few years trying to make a serious go of playing jazz piano has given at least the rudiments I need to write reviews. I can't imagine writing them without that basic background, really. & yes: get rid of the darn typos. Very few journals except for the biggies like The Wire & Downbeat are at all carefully copyedited, so if you send in something full of mistakes & typos, expect most of them to make it into print. Plus the editors are usually happy to add a few more (most memorable instance: I gave the location of recording for a disc I reviewed once as "Lisbon". This was helpfully elaborated to "Lisbon, Spain" in the published version.) I was meaning to say 'founding member', rather than founder.

lately I've been buying cds like there is no tommorow. I got some really great ones. Including the super-excellent Mal Waldron & Steve Lacy - The Peak Volume 2 [hathut] (2 CDs), what is more amazing is the price I paid for it. Only $15 Australian (around $9 US) New!!! Also got Billy Bang & Dennis Charles' Bangception Willisau 1982 (also hathut) for the same price. I just got the Blue Note cd I ordered (Sam Rivers' Fuchsia Swing Song) and I bought a 4 cd Miles Davis Box set, the Columbia Collection just because it was cheap only $18 US approx new and the book has LP pictures in it, I hate compilations but who can resist.

here is another one, comments and criticism appreciated I thought I'd do a review of both his blue note albums, because you really need to hear both. Grachan Moncur III - Evolution and Grachan Moncur III - Some Other Stuff Grachan Moncur III was perhaps destined to be under-valued due to the instrument that he played, the trombone. The trombone has long be considered to be a clumsy instrument unsuitable for the fast paced setting of be-bop and hard-bop jazz. However J.J. Johnson was perhaps the first to prove this theory wrong. J.J's recordings on Blue Note in the 50s proved that the trombone could be very effective as a bop instrument and since than all jazz trombonist has been compared to him. However I a comparison between J.J. Johnson and Grachan Moncur III would not be accurate. Indeed Grachan Moncur III belonged to a group of new trombone players that had developed a unique and original approach to the trombone that deviated from that of J.J. Johnsons. T hese trombonists included Roswell Rudd, to a lesser extent Curtis Fuller and European trombonist Paul Rutherford and nearly a decade later George Lewis. Roswell Rudd often played loud blurred noters that emulated trombonist from the dixieland area. Indeed Roswell Rudd seemed to skip be-bop altogether, developing his style of 'free-jazz' trombone directly from dixieland. Curtis Fuller probably was the new trombonist most like Johnson, but while Johnson was known for his trumpet like runs of the trombone, Curtis was a little slower and picky about the notes he played. Paul Rutherford was possibly the most radical trombonist of them all, forming the 'Spontaneous Music Ensemble' in the mid-60s which often made the music of american free jazz sound almost mainstream. Now that I've covered some of Grachan's contemporaries I think it is about time to talk about Grachan own trombone playing. Grachan III playing is somewhat similar to that of Miles Davis. Like Miles he didn't need to play fast be-bop runs, instead preferring less notes than more. Just listen to the beginning of 'Gnostic' on 'Some Other Stuff'. Moncur begins with very slow played notes, with a cool tone which great a deeply reflective atmosphere. With the counterpoint of Herbie Hancock's piano it creates an almost puzzle like tone to the music. On 'Evolution' the title track of the album of the same name, Moncur suspends time, by using Bobby Hutcherson's Vibes, the bowed bass of Bob Cranshaw and the repeated phrases of Jackie Mclean and Lee Morgan to great a constant improvisational background to improvise on top of. Evolution is perhaps one of the best compositions of both albums. Each soloist plays on top of the same backgroud, the background is always constant, and could even be compared to a orchestral/string quartet of Morton Feldman. Monk's influence on both Moncur's playing and compositions is clear. Indeed on 'Evolution' there is somewhat of a tribute to Monk with Grachan's 'Monk in Wonderland'. In particular the vibe playing by Hutcherson shows hints of Monk's work on the almost related instrument the 'celeste'. Another piece where the influence as Monk as a composer is evident is 'Thandiwa'. Like Monk's Bemsha Swing (on Brilliant Corners), at the beginning two instruments (one brass one reed) play together in unison. In Bemsha Swing it is the unison playing of Sonny Rollins on Tenor Saxophone and Clark Terry on Trumpet, on 'Thandiwa' it is the unison of Moncur on Trombone and Wayne Shorter on Tenor Saxophone. In addition to the unison playing on 'Thandiwa', Moncur plays in alternative turns with Wayne Shorter at the end of Nomadic. It as if two players come one, creating just one solo. A pretty unique compositional technique that makes Moncur's music very exciting and interesting to listen to. Moncur's choice of sideman was also astounding. On Evolution he pushes Lee Morgan into playing some of the most avant-garde and unique solos of his career, Jackie Mclean's unique raw almost acidic tone prevails throughout the album and indeed it is quite possible to suggest that Moncur pushed Mclean to the edge of hard-bop and into a more freer form with his compositions and playing on Mcleans' 60s albums. Unlike Some Other Suff the piano that oftens restricts many jazz musicians is not present, instead replaced by Bobby Hutcherson on Vibes. The Vibes in modern jazz has always been seen to give more flexibility as evident on the pianoless 'Out To Lunch' by Eric Dolphy, and this comment is true for 'Evolution'. Tony Williams is plays a big part in 'Evolution', however he plays an even BIGGER part in 'Some Other Stuff'. 'Some Other Stuff' saw a significant shift in the band line-up. Only Tony Williams surviving from the original 'Evolution' line-up. The band was filled with newer faces, younger musicians, 2 of which were just about to become member's of Miles Davis' classsic 60s Quintet. Wayne Shorter who finally joined Miles Davis's Quintet in September (only a few months after the recording of Some Other Stuff which was recorded in July) and the returning drummer Tony Williams. Filling out the band was double bass player Cecil Mcbee a relative new-comer to the jazz world at the time. I am convinced that 'Some Other Time' features some of the best playing of both Herbie Hancock and Wayne Shorter. Hancock experiments with using just one hand on a couple tracks. Listen to the right hand explorations on 'Gnostic'. Shorter plays with much zest, and extremely inventive throughout the album. Shorter clearly positive and almost telepathic rapport with Moncur III is evident throughout the album. Cecil Mcbee contributes a good backdrop for the other musicians, and provides several interesting moments including his high pitched 'call and response' duet with Hancock on 'The Twins'. Finally I would like to finish my review of both these fantastic albums with a little section on Tony Williams. At the time Evolution was recorded Williams was only 18, and was already amazingly developed having played with Jackie Mclean since he had barely turned 17. Williams was a true boy prodigy and his playing at this very early age is about as good as any other jazz musician in history if not better! The real highlight of the whole two albums is the tune 'Nomadic' on Some Other Stuff, which basically is a 7 minute drum solo by Tony Williams with a little bit of alternating solos in the middle and the end. 'Nomadic' just shows how talented Tony Williams is, and is still one of the best examples of his drumming recorded. I beautiful way to end Moncur III last Blue Note album, and a great way to finish this review. Tony Williams died of a heart attack after routine gall bladder surgery in 1997, a major part of jazz drumming died too. RIP Tony.

Thank you for all your constructive criticism. It will help me improve in the long term, and indeed it is very welcome. I do not claim to know everything and what people have said in this thread have allowed me to learn new techniques/ideas to apply to reviewing. And to JSngry, I agree with your comments. I guess I just wanted to indentify the important part the drummer and bassist played in the recordings, however it was ultimately Nichols music and his concepts.

this idea, came from a different forum, where most people didn't know anything about jazz. So some of the artists covers aren't too undervalued here, but are by the general public.

oops, I meant to say The Gig. I am not a trained musician, so I don't know much about the technically side of music, hence my description of the music is lacking I admit.

sorry in advance if this is inappropriate for this thread. How does one volunteer to do one of these 'album of the week' posts? I would really like to do it, but I think I have to wait till someone nominates me.

I wrote up a little thing on the actual music of Herbie Nichols. I'm not too happy with it, I think it came out a bit disjointed and non-flowing. However any input on how I can improve my reviewing skills would be appreciated. I want to review music for the University Magazine, it will be a good platform to move on from. ----- Herbie Nichols' music occupies somewhat of a middle ground between pre-bop swing piano and be-bop music with additional influences of african rhythms and classical music. 20th Century Classical composer Morton Feldman once noted that 'music seems to be understood best by its proximity to other music that is more familiar', and it is Monk who serves as the best comparison. However in reality the music of Nichols and Monk are very different, while Monk favoured a slightly more percussive and disjointed approach, many of Nichols compositions feature quick successions of notes, that evoke both Art Tatum and Bud Powell. Yet most pieces by Nichols did explore new rythmic approaches that had not been heard in jazz. Clear examples of this unique approach are evident on pieces such as 'The Third World', 'Blue Chopsticks' and the beginning of Cro-Magnon Nights'. These pieces evoke a mood similar to what Cecil Taylor would explore on one of his early albums on Blue Note 'Jazz Advance'. In some pieces Nichols employs a call and response stance, while on others he seems to meld his piano into the piece, using his left-hand to create a platform for his scurries in his right hand. In the 'The Gift' Nichols slowly claims up the scale by repeating the same theme at different keys. Such experiments of scale and repetition are prevelent on many of his compositions. For example the decending scales on 'House Party Starting' , the repeated use of two phases on 'Nick At T's', his use of his left hand repeating the same chords over and over on ''Orse At Sfari'. Perhaps Nichols was more subtle than Monk in many ways, his experiments are less obvious and he never quite took the same amount of the limelight as Monk when performing in a trio. Nichols was happy enough to be the equal member of a trio, rather than the specific leader. It is this closeness to a tight knit trio that Nchols had that makes the Blue Note recordings so valuable. The contributions of the drummers are significant, and are a key factor in the success of Nichols music. Art Blakey manages to maintain a high level of creativity and interaction with Nichols and bassist Al McKibbon. The Complete Blue Note Recordings of Herbie Nichols, is highly recommended to anyone interested in rhythmic and scale based explorations. ------- Perhaps I will follow the advice, and start new threads for the next albums I want to talk about. Also I would really like to be chosen for the album of the week in the future.

thanks for the comments, I appreciate them. Perhaps I should have stated the context of this thread before I went 'straight in' to posting it. What I have written was kind of intended to posted in my University's magazine, where the readers would know little or nothing about jazz (apart from John Coltrane and Miles Davis), hence I apologise if the albums I choose would belittle your musical knowledge, this is not my intention. It is probable that most of you will know the music that I have picked. I just would appreciate discussion on my writing skills, my choice of albums, and just general comments. I think we have worked our way around the difficulties at the beginning of the thread, I am just a newbie in this forum (this is the first time I've ventured out of the 'Funny Rat' thread. So I am still rather clueless to how this forum works.) If any one could teach me the 'ways' of this forum I would be appreciative. Like I don't know how the 'album of the week' works, or the 'blindfold test' works. Could someone explain these sections of the forum to me. My apologises again, I guess making mistakes can arise to a positives things, as long as you can learn from your mistakes. So I will take all the comments, in this thread and learn from them!

Geoff - post whatever you want, however you want. If someone doesn't like the way you frame a discussion they are free to say so, just as you are free to write in whatever way is comfortable to you. It is refreshing to hear from someone who is passionate about an album. There are no "rules" for starting a discussion, so keep the reviews coming. Two great choices, so far. I have the Mal Waldron disc and need to listen to it more than I have. I will hang my head and shame and admit that I have no Herbie Nichols in my collection. This is one of those sets I have meant to pick up for a long time and just haven't gotten around to it. thanks John. ----- Dan, I'm sorry but I think you are over-reacting. I like to contribute to other threads that are more open. However I thought it would be a novel idea to present my individual prospective on jazz music on this forum. I don't mean to be arrogant or anything like that. This is just my opinion on jazz, and you are free to comment on any of the albums I talk about. I would not complain if you did a similar thread. Again my apologies is this thread disturbs you, but that doesn't mean I have to stop writing for it. I want to practice my writing skills, because I want to write reviews for a jazz magazine or some music magazine when I get older (I am only 19). So this is a form of pratice (and why the thread may be construed to be individualistic).

Anyhow, I thought I'd continue and write up another thing Herbie Nichols - The Complete Blue Note Recordings How can I ever do justice when writing about Herbie Nichols music? After justice has been proponed, for so many years. Justice, defined as 'The upholding of what is just, especially fair treatment and due reward in accordance with honor'. Sadly no justice was ever upheld during Nichols' lifetime, and even to this day justice to his music has yet to be fully served. Perhaps I can at least provide some info, and a stern recommendation for Nichols music, in this way I can attempt to at least bring some justice to Nichols, however slight. This is my aim. Herbie Nichols was born in 1919, only 2 years after the birth of Thelonious Monk. He was dead from leukemia in 1963, which coincidently was the year that Monk made the cover of Time magazine. Perhaps the statements is clear example of the great injustice of music, both Monk and Nichols were brillaint composers, however while Monk finally achieved his 'fame', in contrast Nichols cruel fate was to be unrecognised till after his death, forced to play at strip joints and behind r & b bands for his working career. Why did Monk break through, while Nichols failed to? Perhaps it was Monk's outrageous behaviour that drew attention to him, we live in a society where the personality of an artist/musician can draw as much attention than his/her music. Thelonious Monk with his vast collection of hats, his in performance dances was perhaps more of a 'showman' than Nichols and perhaps this was his key to his 'mainstream' success (almost certainly unintentional on Monk's part). If you look at the jazz artists that peirced the strong vale of mainstream media practically each had a certain demeanour that drew attention to thim. Miles Davis, and his grainy cool voice, sunglasses, Miles was the epitomy of cool. Charles Mingus, with is burning temper, Amstrong with his handkerchief. John Coltrane's philosophical stare (evident on the cover of A Love Supreme). I believe these characteristics were some of the reasons why these musicians become 'the mainstream' in the eyes of many of the critics of the time and especially the media. These comments are not meant to suggest that those artists mentioned were lesser composers and musicians, oh no, all I suggest is that they were more easily accepted by the music press for these certain appealing human aspects. Herbie Nichols in contrast was outside what the mainstream press expected. Herbie Nichols was writer, and one of the first person to publically praise the work of Thelonious Monk. Way back in 1943 when Nichols was a columnist for a periodical entitled 'The Music Dial' Nchols wrote an review of Monk's music, this stands as perhaps one of the first reviews of Monks music. Nichols even at this early time indentified Monk's unique 'rhythmical melodies'. He was also an avid listener of 20th century classical music, and he often name-checked artists such as Bela Bartok and Dmitri Shostakovich as major influences. Perhaps Herbie Nichols' shy nature, and 'square' attitude was partially to blame for him be unrecognised. He was in contast to many of the musicians in the mid 50s. He didn't use herion, he didn't drink excessive amounts of alcohol. Singer Sheila Jordan states that 'Herbie was very reserved - not unfriendly, but very dignified and very shy'. Here is a picture I scanned from my copy of the Complete Herbie Nichols. Nichols was not competely unknown, he was somewhat of an underground hero to many inspiring artists. None more so than a young trombonist that had played with Nichols just before Nichols death. This young trombinist was called Roswell Rudd. Indeed Roswell Rudd is the perhaps one of Nichols staunchest disciples. He has recorded a series of albums entitled 'The Unheard Heribe Nichols' for the CIMP label, spanning of several discs the albums feature some compositions that Nichols was never abel to record himself. Earlier, Roswell teamed up with Steve Lacy (who is perhaps the person that has performed the most Monk compositions than any other musician other than Monk himself), Mengelberg and Bennink on 'Regeneration' on the Italian label Soul Note. Nichols influence continues, and other 'followers' include Misha Mengelberg, Geri Allen, Archie Shepp and even Cecil Taylor. I'm almost up to 1000 words, and still havn't written anything on the actual music on this album so I better get to describing what the 'whole fuss' is about. However I have no time to finish it tonight, so this thread is TO BE CONTINUED If you feel that this material has already been covered, and it probably has, feel free to tell me to stop contributing to this thread.