jazzbo

Late, I would like to believe you are correct, but I can't. . . . I've personally heard Michael Cuscuna laugh at how bad he thought the unreleased/rejected session was and assure me that he will NEVER put any of it out. Unfortunately, I believe him. Whoever NEXT is the custodian of the vaults may, but not he. . . . I'd love to hear that session. . . really has me curious! I'm a big Tyrone fan, and there's not enough of him on tape.

Well, Hermeto is an acquired taste, and a master of many instruments and musical styles. . . I've always liked these tracks since before I had any idea who Hermeto was; now after many years of listening to him I still like these, and enjoy the pastoral feel of the compositions; they serve a good function on Live/Evil as breaks and "palate cleansers" so to speak, and I like them alone, they have a mood that I enjoy traveling into.

Glad you got to see them! I've only heard great things about their appearnces together.

Eric, the only material I really could do without on this set are the "Hang on Sloopy" based jams. . . not necessary, not going to get a lot of play. I really like the Hermeto Pascaol sessions, the complete versions of Honky Tonk, the progression of Willie Nelson, the Duran and Konda, etc. and especially the Go Ahead John tracks, and The Mask takes, which were exciting to hear for the first time---The Mask is a studio workout of my favorite parts of Thursday Miles from the At Fillmore release. I think you'll really dig it. The remastering of the J J album itself is awesome, and listening to it this morning I was more and more impressed at how 'pugilistic' this music is: Miles the boxer has chosen very appropriate music for a film about a boxer. . . . I've never seen the film, but "Right Off" has a perfect Ali-dancing like vibe and groove with stabbing guitar and trumpet . . . it's easy to imagine this as music in a boxing ring!

I have to say that the Criss Cross I have heard from the last decade or so haven't sent me. I've little to recommend except the Johnny Coles "New Morning." I'll have to look for the Knepper.

The Ellington cd (thanks Jim!) is quite interesting. . . I've been playing it and thinking about it. I haven't yet become a fullblown fan, but he's a very accomplished player! It would be great if he were to have a US contract. . .again. (IF he doesn't have one now.)

No favorites for me to report. I ignore them all!

Many more happy returns! Now that you're old enough to drink and vote, don't do them together and don't overdo either!

Your opinion, duly noted, and personally disagreed with. -_-

Yeah Buddy!

A collection of Lost Quintet material was recently circulated: http://www.miles-trees.org/l5/index.cfm?fu...or_av&artID=968

'Salright! B)

I've been collecting this material for several decades. . . and I agree with Jim entirely. I'll grab any of it that I can, I love this music, it's not much like anything else. I"m dying to hear the Cellar Door material!

This was one of the first lps I've ever owned, it was part of a gift package that was given to US Peace Corps volunteers in 1968 or so, a lot of probably not well selling lps were given out to them, and a volunteer gave me copies of the lps he didn't want, which included Leo Wright's "Blues Shout" and this one, and helped begin my jazz oddyssey when I was 14 or so. I've never found his other lp. I'm hoping one day this "Another Dimension" will see cd reissue.

Just to clarify, what I said was "Many sessions within the Mosaic are not too different than this Verve cd." That means that I was pointing out that there were also different sessions in the box. So in fact, rather than "Not all of it is as Lon says" I maintain that it IS as I say!

Gentlemen: I want to thank you for sharing your experiences!

J, I guess in thinking harder I can see your point about 'beautifying' the violence. It's really hard to deny that his happening on some level. Also however I see this as part of what fascinates me in his work, truly given even more dazzling treatment here. With this story line the violence is the heartbeat, and to me the characterization reinforces that: all we really know about her is that she was nearly killed, her hope of a family was destroyed as well, and she is exacting revenge with relentless drive and focus. I've never ever been in such a situation, and I am certain that I would not take THIS path. But that too makes this an interesting movie for me: I enjoy seeing how people interact with their realities, and boy is this one that is compelling to see unfold. Perhaps I'm becoming more and more voyeuristic, perhaps as I make my own attemps to piece together stories I am more intrigued by how others do this, but I found this a tale that was riveting. I'm going to have to see it again!

Now that's a great expression! (A great expression which fits many of us here!) I'll agree with the remarks about Ayler being mystical, spiritual. . . I really feel that in the music, the fervant, ecstatic attempt to express the intangible and the universal spirit. . . .

I really enjoy Hill solo recordings. . . perhaps more than with a group to be honest. I like his trio sides too. He's tremendously pianistic. . . he really knows the piano and even with group albums it is mainly his piano I listen to. It's different, and it commands attention. I also have a recording (unofficial) of his with just a bassist that is very interesting.

This is an interesting album. . . I haven't heard it enough to really give to great an impression. I was most reminded of Sun Ra actually, and I like it, and this is a good reminder to pull it out and spin it again soon! I'm always reminded of how good a player Belgrave is whenever i hear him. . . .

I really enjoy this odd masterpiece as well: This is a recording in Paris of Brand and his wife Benjamin produced by Ellington, with Duke and Strays sitting in on piano here and there. Odd, but haunting and beautifully recorded. . . .

Yes, for example here: http://www.amazon.com/exec/obidos/tg/detai...=glance&s=music

Interesting. . . I don't think that it "Aestheticized" violence at all for me. I was cognizant all the time of the violence, and fascinated at the unfolding, and fascinated that I was fascinated with it. Nor was it numbing . . . I twinged and turned away and felt sickened by it. . . but fascinated as well. I'm not flaming at all, I just had a different reaction. I kept wondering WHY this film was so centered in violence, why Tarrantino was so obsessed with it. . . but I thought of my wife when she was very very very angry (and psychotic), and some friends that I have seen very very upset . . . . It's made me think that there are those for whom this is probably a cathartic fantasy. And it's made me think of the administration I now work for, who are using the public's money to hire their friends as employees or contractors, who are demolishing the careers of dedicated workers to bring in sad sacks, who have no compassion or sense of responsibility to mission, and I recognize them in the Lucy Liu character and her roundtable of hoodlum overlords. . . . I think there is plenty of character demonstrated there. . . unsavory character. I'm interested to see the conclusion and a further clarification of the motivation for Black Maamba's revenge. . .but I'm not at all unclear about why she is so obsessed with revenge. Anyway, this movie has made me think. I don't think it was geared to, or that Quentin would have guessed that I would. But it has made me think, and the cinematography impressed me and I am considering seeing it again to further drink in the art of the filming.

Ayler was such an amazing saxophonist! Yes, he was a visionary with a new concept, yes he was so very different from most in his performances, but from the start what I was knocked back reeling from was his astonishing technique on the saxophone, the huge sound, the kaliedoscopic range of his notes all played with confidence and command. When I read comments that he was a primitive player, or didn't know how to play the horn I think "what a crock!" More and more as time goes by his music means more and more to my listening and thinking world. I'm really looking forward to the Revenant, when it is out and when I can afford it. And the Jeff Scwartz piece is a marvelous aid to listening to Ayler; I wish I had more like that, much more, to read. I've heard nearly all the official recordings (still need to get the earliest sessions and The Last Album) and a lot of the unofficial ones. . . . There's so much to explore in all of his work; each time you encounter it it seems to speak to you anew!

Well said, well pointed out. . . but the truth of the matter is that the Armstrong house would be the motivating factor that would make me go to NYC. I've very little traveling money, and I've a limited amount of places I can "choose to go" to with my limited amount of traveling time and money, and NYC is not high on my list. Going to New Orleans, going back to Swaziland, and several other places are above NYC. . . .I can see a trip with my wife to NYC draining my entire bank account! And another reason: I hate metropolises!