What vinyl are you spinning right now??

[Clunky]

Willem Breuker Kollektief -----------Live in Berlin-------(Bvaast)

[clifford_thornton]

I think you'd have to ask Chico what his motives were and what he was going for with that record. He did move in a more commercial direction in the 80s after all. That said, in 1978 he was still bringing it with Abdullah's group, among others, so there wasn't any reason to "count him out" as an interesting player.

There were quite a few "modal plateau" records from that period that did sound good, though, and it brings to mind titles issued on Whynot and East Wind in Japan during that period. Chico's "Morning Prayer" is maybe a little toothier than "Spirit Sensitive," but generally related and that did come out first in Japan.

All I can say is that by the time I got around to "Don't Get Around Much Anymore," the last cut of the album, I had pretty well had it. But I do appreciate your thoughts on the album, CT.

NP: I'm a fan of the Human Arts Ensemble in its various permutations:

THE HUMAN ARTS ENSEMBLE LIVE, VOL. 1. Circle Records. Recorded live Holland, May 1978.

I'm still not completely certain who played on this album. The album credits only Charles Bobo Shaw Jr on drums; Luther Thomas on alto sax; and, John Lindberg (misspelled Linberg) on bass. The picture of Lindberg on the back cover is amusingly postage stamped size, while the picture of Joseph Bowie on trombone is the same size as those of Gray and Shaw, even though Bowie is not official credited on the album. At the end of Side 1, Bowie is mentioned by the announcer, as is James Emery on guitar, seen in one of the photos, as part of the ensemble. Officially though, they are not part of the recording. Anyway, these guys really bring it here.

I've been puzzled by that cover too. I don't have vol.2 but aren't Emery and Bowie on vol.2? I assumed it was a shared back cover for both volumes.

Someone must have both volumes......

Yes, that's correct.

[Leeway]

I think you'd have to ask Chico what his motives were and what he was going for with that record. He did move in a more commercial direction in the 80s after all. That said, in 1978 he was still bringing it with Abdullah's group, among others, so there wasn't any reason to "count him out" as an interesting player.

There were quite a few "modal plateau" records from that period that did sound good, though, and it brings to mind titles issued on Whynot and East Wind in Japan during that period. Chico's "Morning Prayer" is maybe a little toothier than "Spirit Sensitive," but generally related and that did come out first in Japan.

All I can say is that by the time I got around to "Don't Get Around Much Anymore," the last cut of the album, I had pretty well had it. But I do appreciate your thoughts on the album, CT.

NP: I'm a fan of the Human Arts Ensemble in its various permutations:

THE HUMAN ARTS ENSEMBLE LIVE, VOL. 1. Circle Records. Recorded live Holland, May 1978.

I'm still not completely certain who played on this album. The album credits only Charles Bobo Shaw Jr on drums; Luther Thomas on alto sax; and, John Lindberg (misspelled Linberg) on bass. The picture of Lindberg on the back cover is amusingly postage stamped size, while the picture of Joseph Bowie on trombone is the same size as those of Gray and Shaw, even though Bowie is not official credited on the album. At the end of Side 1, Bowie is mentioned by the announcer, as is James Emery on guitar, seen in one of the photos, as part of the ensemble. Officially though, they are not part of the recording. Anyway, these guys really bring it here.

I've been puzzled by that cover too. I don't have vol.2 but aren't Emery and Bowie on vol.2? I assumed it was a shared back cover for both volumes.

Someone must have both volumes......

I don't have Vol. II, but Discogs shows the same cover for Vol. II as Vol. I, but in yellow, with the following credits:

• Drums – Charles Bobo Shaw Jr.*
• Guitar – James Emery
• Producer – Rudolf Kreis
• Trombone – Joseph Bowie

[paul secor]

The Beehive Session - Unissued Tunes Vol. One (Beehive) - red vinyl

[Leeway]

Lester Bowie, Marty Ehrlich, Carol Marshall, James Marshall, J.D. Parran, Victor Reef, Charles Bobo Shaw, Butch Smith, Abdallah Yakub, Alan SUits, Vincent Terrell. July 1973, St. Louis.

It might be interesting to exam Lester Bowie's work in AEC with that of his involvement in other ensembles such as this, BAG, etc.

[Leeway]

I think you'd have to ask Chico what his motives were and what he was going for with that record. He did move in a more commercial direction in the 80s after all. That said, in 1978 he was still bringing it with Abdullah's group, among others, so there wasn't any reason to "count him out" as an interesting player.

There were quite a few "modal plateau" records from that period that did sound good, though, and it brings to mind titles issued on Whynot and East Wind in Japan during that period. Chico's "Morning Prayer" is maybe a little toothier than "Spirit Sensitive," but generally related and that did come out first in Japan.

All I can say is that by the time I got around to "Don't Get Around Much Anymore," the last cut of the album, I had pretty well had it. But I do appreciate your thoughts on the album, CT.

NP: I'm a fan of the Human Arts Ensemble in its various permutations:

THE HUMAN ARTS ENSEMBLE LIVE, VOL. 1. Circle Records. Recorded live Holland, May 1978.

I'm still not completely certain who played on this album. The album credits only Charles Bobo Shaw Jr on drums; Luther Thomas on alto sax; and, John Lindberg (misspelled Linberg) on bass. The picture of Lindberg on the back cover is amusingly postage stamped size, while the picture of Joseph Bowie on trombone is the same size as those of Gray and Shaw, even though Bowie is not official credited on the album. At the end of Side 1, Bowie is mentioned by the announcer, as is James Emery on guitar, seen in one of the photos, as part of the ensemble. Officially though, they are not part of the recording. Anyway, these guys really bring it here.

I've been puzzled by that cover too. I don't have vol.2 but aren't Emery and Bowie on vol.2? I assumed it was a shared back cover for both volumes.

Someone must have both volumes......

Yes, that's correct.

Found an image of the back cover of Vol. II, same as Vol. I, except that the credits are different, showing Shaw, Joseph Bowie, and James Emery.

Edited April 9, 2014 by Leeway

[B. Clugston]

Lester Bowie, Marty Ehrlich, Carol Marshall, James Marshall, J.D. Parran, Victor Reef, Charles Bobo Shaw, Butch Smith, Abdallah Yakub, Alan SUits, Vincent Terrell. July 1973, St. Louis.

It might be interesting to exam Lester Bowie's work in AEC with that of his involvement in other ensembles such as this, BAG, etc.

That's a nice one. I once saw one of the earlier editons of it in a record shop, but unfortunately the vinyl looked like it had been hit by meteorites.

[clifford_thornton]

I think you'd have to ask Chico what his motives were and what he was going for with that record. He did move in a more commercial direction in the 80s after all. That said, in 1978 he was still bringing it with Abdullah's group, among others, so there wasn't any reason to "count him out" as an interesting player.

There were quite a few "modal plateau" records from that period that did sound good, though, and it brings to mind titles issued on Whynot and East Wind in Japan during that period. Chico's "Morning Prayer" is maybe a little toothier than "Spirit Sensitive," but generally related and that did come out first in Japan.

All I can say is that by the time I got around to "Don't Get Around Much Anymore," the last cut of the album, I had pretty well had it. But I do appreciate your thoughts on the album, CT.

NP: I'm a fan of the Human Arts Ensemble in its various permutations:

THE HUMAN ARTS ENSEMBLE LIVE, VOL. 1. Circle Records. Recorded live Holland, May 1978.

I'm still not completely certain who played on this album. The album credits only Charles Bobo Shaw Jr on drums; Luther Thomas on alto sax; and, John Lindberg (misspelled Linberg) on bass. The picture of Lindberg on the back cover is amusingly postage stamped size, while the picture of Joseph Bowie on trombone is the same size as those of Gray and Shaw, even though Bowie is not official credited on the album. At the end of Side 1, Bowie is mentioned by the announcer, as is James Emery on guitar, seen in one of the photos, as part of the ensemble. Officially though, they are not part of the recording. Anyway, these guys really bring it here.

I've been puzzled by that cover too. I don't have vol.2 but aren't Emery and Bowie on vol.2? I assumed it was a shared back cover for both volumes.

Someone must have both volumes......

Yes, that's correct.

Found an image of the back cover of Vol. II, same as Vol. I, except that the credits are different, showing Shaw, Joseph Bowie, and James Emery.

Huh. I remembered it as being a more standard look between the two volumes.

Lester Bowie was from St. Louis and there was a fair amount of back-and-forth between BAG and the AACM in the late '60s/early '70s. And they convened in Paris too. BAG was more multi-disciplinary, involving painters and theatrical events as well as music, poetry, and education.

Now spinning:

Mudhoney - Every Good Boy Deserves Fudge - (Sub Pop, raspberry vinyl)

[soulpope]

I had the urge to play this yeserday, first time in many years. Still doesn't do anything for me.

I hadn't played this in a while and was really surprised how straight-ahead this session was. Prettily played and all, but still...

since hearing this for the first time in the early eighties still one of my chico freeman faves...what a fitting contrast beetween freeman`s loose playing and the tight rhythm section(s).........

MIne too, as ballad albums go this one takes some beating.

Actually a good friend marvelled at that time (aka early 80s) about Chico Freeman`s tenor tone, being based on his (father`s) roots, and thought this is proved to vast extent in "Spirit Sensitive"......no question the "Zeitgeist" was more consequently mirrored in Chico`s self titled India Navigation record from 1977, the far east tinged "The Outside Within" or the Black Saint outing "Warriors"........

Still tells a lot about Chico`s self confidence to record music "against the tides"....of course this was also on the verge of jazz music`s neo-classizism and vaguely remember Chicho being in the outer circles of the early to mid 80s "young lions" labeling, but probably me being wrong.....

PS just out of memory, did not Arthur Blythe record "In the Tradition" at subject time too ??

Edited April 10, 2014 by soulpope

[sidewinder]

I remember buying a vinyl copy of 'Spirit Sensitive' just before the Marsalis/Freeman 'Fathers and Sons' and link both of these with the start of the 'young lions' jazz resurgence of the early 1980s. Donald Fagen's 'The Nightfly' came out around the same time and seemed to tap into this general vibe.

Within a year or so of that the French Pathe Marconi Blue Notes started coming out en masse and the 1970s UK jazz drought was officially over.

Edited April 10, 2014 by sidewinder

[soulpope]

I remember buying a vinyl copy of 'Spirit Sensitive' just before the Marsalis/Freeman 'Fathers and Sons' and link both of these with the start of the 'young lions' jazz resurgence of the early 1980s. Donald Fagen's 'The Nightfly' came out around the same time and seemed to tap into this general vibe.

Within a year or so of that the French Pathe Marconi Blue Notes started coming out en masse and the 1970s UK jazz drought was officially over.

funny old times ;-)) kept "Spirit Sensitive", but got rid off "Fathers and Sons" though.....reg Von Freeman very much preferred Mr. Nessa`s product(s) and had an extra weak point for "Young and Foolish" on Daybreak

Edited April 10, 2014 by soulpope

[uli]

[JohnS]

I had the urge to play this yeserday, first time in many years. Still doesn't do anything for me.

I hadn't played this in a while and was really surprised how straight-ahead this session was. Prettily played and all, but still...

since hearing this for the first time in the early eighties still one of my chico freeman faves...what a fitting contrast beetween freeman`s loose playing and the tight rhythm section(s).........

MIne too, as ballad albums go this one takes some beating.

Actually a good friend marvelled at that time (aka early 80s) about Chico Freeman`s tenor tone, being based on his (father`s) roots, and thought this is proved to vast extent in "Spirit Sensitive"......no question the "Zeitgeist" was more consequently mirrored in Chico`s self titled India Navigation record from 1977, the far east tinged "The Outside Within" or the Black Saint outing "Warriors"........

Still tells a lot about Chico`s self confidence to record music "against the tides"....of course this was also on the verge of jazz music`s neo-classizism and vaguely remember Chicho being in the outer circles of the early to mid 80s "young lions" labeling, but probably me being wrong.....

PS just out of memory, did not Arthur Blythe record "In the Tradition" at subject time too ??

It's a shame that the follow up record. Still Sensitive is a bit of a disappointment. Nowhere near the muscular feel of the earlier recording.

[clifford_thornton]

I remember buying a vinyl copy of 'Spirit Sensitive' just before the Marsalis/Freeman 'Fathers and Sons' and link both of these with the start of the 'young lions' jazz resurgence of the early 1980s. Donald Fagen's 'The Nightfly' came out around the same time and seemed to tap into this general vibe.

Within a year or so of that the French Pathe Marconi Blue Notes started coming out en masse and the 1970s UK jazz drought was officially over.

funny old times ;-)) kept "Spirit Sensitive", but got rid off "Fathers and Sons" though.....reg Von Freeman very much preferred Mr. Nessa`s product(s) and had an extra weak point for "Young and Foolish" on Daybreak

Yeah, the Daybreak LP is great.

Regarding Chico, Arthur Blythe, Don Pullen and that early '80s scene, I think those guys were way more on top of merging creative music and the tradition and doing something really worthwhile with it than the Young Lions of the period. Would much rather spin an accessible Chico Freeman LP than anything by Wynton and his ilk.

[soulpope]

u

I remember buying a vinyl copy of 'Spirit Sensitive' just before the Marsalis/Freeman 'Fathers and Sons' and link both of these with the start of the 'young lions' jazz resurgence of the early 1980s. Donald Fagen's 'The Nightfly' came out around the same time and seemed to tap into this general vibe.

Within a year or so of that the French Pathe Marconi Blue Notes started coming out en masse and the 1970s UK jazz drought was officially over.

funny old times ;-)) kept "Spirit Sensitive", but got rid off "Fathers and Sons" though.....reg Von Freeman very much preferred Mr. Nessa`s product(s) and had an extra weak point for "Young and Foolish" on Daybreak

Yeah, the Daybreak LP is great.

Regarding Chico, Arthur Blythe, Don Pullen and that early '80s scene, I think those guys were way more on top of merging creative music and the tradition and doing something really worthwhile with it than the Young Lions of the period. Would much rather spin an accessible Chico Freeman LP than anything by Wynton and his ilk.

probably me being not clear enough, but by no means it was my intention to put Freeman, Blythe, Pullen et al synonymous to "Young Lions" or "Wynton`s world".......but probably while lurking into neo classicism it became tempting to cross-over....in Chico`s case this happened (for me) via "Father and sons" (somehow mirroring Ellis and Wynton Marsalis "projects"....??)

Edited April 10, 2014 by soulpope

[JSngry]

Great cover, but the music is the type that 10-15 years go by and I say, hey, I should listen to this again, and then I do, and then I say, I should listen to this more often, and then 10-15 years go by and, hello, here we are again.

[clifford_thornton]

u

I remember buying a vinyl copy of 'Spirit Sensitive' just before the Marsalis/Freeman 'Fathers and Sons' and link both of these with the start of the 'young lions' jazz resurgence of the early 1980s. Donald Fagen's 'The Nightfly' came out around the same time and seemed to tap into this general vibe.

Within a year or so of that the French Pathe Marconi Blue Notes started coming out en masse and the 1970s UK jazz drought was officially over.

funny old times ;-)) kept "Spirit Sensitive", but got rid off "Fathers and Sons" though.....reg Von Freeman very much preferred Mr. Nessa`s product(s) and had an extra weak point for "Young and Foolish" on Daybreak

Yeah, the Daybreak LP is great.

Regarding Chico, Arthur Blythe, Don Pullen and that early '80s scene, I think those guys were way more on top of merging creative music and the tradition and doing something really worthwhile with it than the Young Lions of the period. Would much rather spin an accessible Chico Freeman LP than anything by Wynton and his ilk.

probably me being not clear enough, but by no means it was my intention to put Freeman, Blythe, Pullen et al synonymous to "Young Lions" or "Wynton`s world".......but probably while lurking into neo classicism it became tempting to cross-over....in Chico`s case this happened (for me) via "Father and sons" (somehow mirroring Ellis and Wynton Marsalis "projects"....??)

No, I know what you meant. I was just saying that those guys seemed to do a better and more interesting job of making cohesive, forward & backward-looking work than the Young Lions did, and should've been the ones to "make it." Imagine if JALC was headed by someone like Olu Dara?

[Clunky]

Ken & Paal-----------Lightning over the water---------(Laurence Family)

The duo fairly groove along. Very well recorded.

[soulpope]

u

I remember buying a vinyl copy of 'Spirit Sensitive' just before the Marsalis/Freeman 'Fathers and Sons' and link both of these with the start of the 'young lions' jazz resurgence of the early 1980s. Donald Fagen's 'The Nightfly' came out around the same time and seemed to tap into this general vibe.

Within a year or so of that the French Pathe Marconi Blue Notes started coming out en masse and the 1970s UK jazz drought was officially over.

funny old times ;-)) kept "Spirit Sensitive", but got rid off "Fathers and Sons" though.....reg Von Freeman very much preferred Mr. Nessa`s product(s) and had an extra weak point for "Young and Foolish" on Daybreak

Yeah, the Daybreak LP is great.

Regarding Chico, Arthur Blythe, Don Pullen and that early '80s scene, I think those guys were way more on top of merging creative music and the tradition and doing something really worthwhile with it than the Young Lions of the period. Would much rather spin an accessible Chico Freeman LP than anything by Wynton and his ilk.

probably me being not clear enough, but by no means it was my intention to put Freeman, Blythe, Pullen et al synonymous to "Young Lions" or "Wynton`s world".......but probably while lurking into neo classicism it became tempting to cross-over....in Chico`s case this happened (for me) via "Father and sons" (somehow mirroring Ellis and Wynton Marsalis "projects"....??)

No, I know what you meant. I was just saying that those guys seemed to do a better and more interesting job of making cohesive, forward & backward-looking work than the Young Lions did, and should've been the ones to "make it." Imagine if JALC was headed by someone like Olu Dara?

ok, got you - good example reg olu dara, on the other hand if his "destiny" (or should i say his destination ?) would have changed then most likely we would have been deprived for instance of his contributions on the theadgill sextett`s "when was that" or "just the facts and pass the bucket"......hard to imagine (for me)......

Edited April 10, 2014 by soulpope

[clifford_thornton]

True true, and in a sense the position of Wynton and Crouch provided a bulwark for the underground to gain steam against.

[Leeway]

Ken & Paal-----------Lightning over the water---------(Laurence Family)

The duo fairly groove along. Very well recorded.

I've got this (double LP plus 7", right?), but haven't had a chance to play it yet. Have you heard the whole of it? Like? I'm seeing Made to Break at end of April, KV will be right in my neighborhood.

[soulpope]

True true, and in a sense the position of Wynton and Crouch provided a bulwark for the underground to gain steam against.

i believe this is the best possible positive stance towards "WyntonCrouch"

[Clunky]

Ken & Paal-----------Lightning over the water---------(Laurence Family)

The duo fairly groove along. Very well recorded.

I've got this (double LP plus 7", right?), but haven't had a chance to play it yet. Have you heard the whole of it? Like? I'm seeing Made to Break at end of April, KV will be right in my neighborhood.

I do like it . I know KV gets knocked here but this is a very attractive set . Not listened to the. 7inch yet but I played sides C D , A & B all the way through in that order this afternoon

[Leeway]

JOY OF PARANOIA - Lol Coxhill - Ogun LP.

[Leeway]

FLEAS IN CUSTARD - Lol Coxhill - Caroline LP.

Speaking strictly in terms of soprano saxophone, would anyone hold for Coxhill being the equal or even superior of Lacy as a soprano player? Lacy's discography was clearly superior, but Coxhill had an amazing way with the soprano that justifies some attention.