the old days of Hat were much easier to follow. Now, not so much! Westbrook is indeed very much alive, at least the last time I checked...
at least the Ayler I mentioned above is in very good sound, considering the source material. Folwell and Harris/Graves really pop out of the mix, and I didn't hear any extraneous mastering artifacts. Very little mud.
I had that Vanguard at one point; '65 seems like where things really get going.
Gathering all the Lacy Hats into one box might be difficult. That is a lot of material.
I saw & loved it. Wish it were still available to stream.
As my tastes evolved/relaxed, I began to appreciate Sunny's discursive bop approach on later albums. Kinda funny to reread old posts in this way.
I'd like to clear out my last 5 copies of Singularity Codex; message me here for a copy. $20 shipped anywhere in the US.
They make a great Passover gift!
Those would sell now, but at the time, post-Coltrane modal jazz wasn't really moving units like it currently does. I also remember a time when those records were cheap and nobody cared...
Saw Rufus with Byard Lancaster once. It was a very interesting gig.
I certainly would not have otherwise guessed it was him on this track, and he's a bit stiff so Barron & Pope are both out as possibilities. That said, and having not really spent time with his Atlantics, the choice is rather illuminating.
The piece with Woods is fun; it doesn't appear to be on a record I own so will be curious to find out more.
The overdubbed solo soprano composition is really nice; it's not Surman, but does seem to be dipping into a similar well.
12 is Clifford Thornton (the real one) from The Gardens of Harlem, tenor player is Roland Alexander. The cut is called "O Desayo." Bassist is Andy González.
Guess I need to listen to the rest of it!
It kinda already exists in the form of the NoBusiness Sam Rivers live series, but I suppose you are probably looking toward the albums on Fluid, Red, Vedette, Circle, Horo, Black Saint, Tomato, Impulse, and ECM.
I know Dexter's BN LPs remain sought-after, but I wonder whether his playing catches the ear of current/newer jazz buyers the way that, say, Joe Henderson does? My guess is no, but it's their loss...