What vinyl are you spinning right now??

[Leeway]

Interesting figure from the Chicago scene. I like this one.

[Leeway]

King Pressing.

[JSngry]

Interesting figure from the Chicago scene. I like this one.

Yeah, I go for Boykin whenever possible. Definitely. Don't have any vinyl though, when did this one come from?

Not relevant, but are he and Nicole Mitchell still married?

[Chuck Nessa]

no. she has a different husband.

Evan Parker - Saxophone Solos (Incus)

That and Monoceros are my earliest Parkers.

[JSngry]

Were they ever married, or am I just confusing people's relationships trying to make people happy who already are?

[Chuck Nessa]

They were married.

[JSngry]

Ok, thanks.

[Homefromtheforest]

Donald Byrd "electric Byrd" (blue note, liberty). Today's find; a pristine copy...mint vinyl and perfect cover - like new. Sounds pretty amazing..my first "late" period Byrd record and it's definitely in the early 70s Miles mode but considerably more "spacier"(apologies for this term haha).

[kh1958]

Shelley Manne and His Men at the Blackhawk Volume 2 (Contemporary stereo), and King Pleasure Sings (Prestige ten inch).

[tomatamot]

Herbie Nichols ‎– The Third World

[Leeway]

Interesting figure from the Chicago scene. I like this one.

Yeah, I go for Boykin whenever possible. Definitely. Don't have any vinyl though, when did this one come from?

Not relevant, but are he and Nicole Mitchell still married?

Boykin came to the last Vision Festival (so did Nicole Mitchell for that matter, they played in "Sonic Projections" together) and brought a couple of copies of this LP with him, so picked it up. Was new to me too.

[colinmce]

I need to pick that one up. I have some of his CD-RS, which are distinctive. Love his playing on Abrams' Unknown Known.

[clifford_thornton]

Haven't heard Boykin in years. Need to seek out some more of his stuff.

Now:

Pygmy Unit - Signals from Earth - (self-released US LP)

Bay Area free improvisation featuring Jim Pepper and Darrell De Vore, pretty neat.

[Leeway]

Haven't heard Boykin in years. Need to seek out some more of his stuff.

Now:

Pygmy Unit - Signals from Earth - (self-released US LP)

Bay Area free improvisation featuring Jim Pepper and Darrell De Vore, pretty neat.

Been getting into some Jim Pepper recently. Picked up some CDs with him on them, posted those over in the listening thread. I like one in particular with Mal Waldron. I have a few LPs as well.

Anthony Braxton - B-X0 NO-47A - Actuel 15 - 1969

Cheesy BYG reissue, but serves its purpose. Braxton in Pre-Cardigan era.

[Leeway]

Among the long list of musicians participating in the recording, I find Seldon Powell, which really surprised me. Maybe it shouldn't? Just seemed odd to find him with the Braxton and Roscoe Mitchell crowd.

Edited February 1, 2015 by Leeway

[clifford_thornton]

Haven't heard Boykin in years. Need to seek out some more of his stuff.

Now:

Pygmy Unit - Signals from Earth - (self-released US LP)

Bay Area free improvisation featuring Jim Pepper and Darrell De Vore, pretty neat.

Been getting into some Jim Pepper recently. Picked up some CDs with him on them, posted those over in the listening thread. I like one in particular with Mal Waldron. I have a few LPs as well.

Yeah, he's great. I mean, as ubiquitous as it is, "Witchi-Tai-To" is an amazing piece of music.

Now, perhaps coincidentally as I was going through some ethnographic recordings today as well,

Music of the Sioux and the Navajo - (Ethnic Folkways Library)

Songs of the Pawnee and Northern Ute - (Library of Congress)

[Clunky]

Hodges/ Davis--------Wings & Things----------( EMI) UK mono of this wonderful Verve title

Grant Green and Johnny Hodges, who would have thunk it!

[JSngry]

Among the long list of musicians participating in the recording, I find Seldon Powell, which really surprised me. Maybe it shouldn't? Just seemed odd to find him with the Braxton and Roscoe Mitchell crowd.

Depends on who contracted the date.

On the matter of skills, though, not surprising. That's some hardass music and it wasn't a working band. Financial realities would dictate that you have a few flyshit readers in there to keep the time needed thing between the lines.

Look who else is in there - the Bridgewater brothers, Bruce Johnstone, and Jon Faddis. They weren't their to contribute their "unique personal stylings", ya' know? They were there to read the parts and keep the session moving. Time is money, as they say, and at least as much in the studio as anywhere. EVERYBODY gets OT if OT happens, unless its a scab date.

[tomatamot]

Branford Marsalis - In My Solitude: Live in Concert at Grace Cathedral

[Chuck Nessa]

Among the long list of musicians participating in the recording, I find Seldon Powell, which really surprised me. Maybe it shouldn't? Just seemed odd to find him with the Braxton and Roscoe Mitchell crowd.

Depends on who contracted the date.

On the matter of skills, though, not surprising. That's some hardass music and it wasn't a working band. Financial realities would dictate that you have a few flyshit readers in there to keep the time needed thing between the lines.

Look who else is in there - the Bridgewater brothers, Bruce Johnstone, and Jon Faddis. They weren't their to contribute their "unique personal stylings", ya' know? They were there to read the parts and keep the session moving. Time is money, as they say, and at least as much in the studio as anywhere. EVERYBODY gets OT if OT happens, unless its a scab date.

After the fact,I heard some complaints about Faddis and some other "studio" guys being unable to "stretch" to add to the music .

[JSngry]

And that makes sense too.

I say this very advisedly, because I love the man, I love the music, and I for sure love the album, but that Julius Hemphill big band album...if jut a few strategically placed section players would have been inserted, the writing itself might have benefited. What that might have cost the feel of the music, I dunno. Something, I'm sure.

Part of me says that if I got ears, I can hear the writing no matter what, and as a rule, I can. Another part of me says that parts are meant to be heard as much as they are felt, and that the clearer the parts are executed individually, the better you can feel them based on what is really there instead of waht you think you want to be there. And another part of me says just fuck it, go for what you get, start there and keep getting and going. Thing is, all these parts are often going on at the same time. And if/when it's Ellington, none of those parts have time to be bothered by any of that.

But as far as the Braxton record goes, hey, you made the album you made and used the people that you used, if they did what you hired them to do, the complaint that they didn't/couldn't do past that, well, live and learn. That record is glorious as is. Whatever else it could have been, hey, time machine, go for a time machine.

[jeffcrom]

I'm listening to the Braxton album too right now (on CD, actually, though) and making plans to drive to Tuscaloosa for Braxton's residency at the University of Alabama later this month. On the 18th, he and the UA big band will be playing the whacked-out march and that strange, wonderful last track, among other pieces.

[colinmce]

And that makes sense too.

I say this very advisedly, because I love the man, I love the music, and I for sure love the album, but that Julius Hemphill big band album...if jut a few strategically placed section players would have been inserted, the writing itself might have benefited. What that might have cost the feel of the music, I dunno. Something, I'm sure.

Part of me says that if I got ears, I can hear the writing no matter what, and as a rule, I can. Another part of me says that parts are meant to be heard as much as they are felt, and that the clearer the parts are executed individually, the better you can feel them based on what is really there instead of waht you think you want to be there. And another part of me says just fuck it, go for what you get, start there and keep getting and going. Thing is, all these parts are often going on at the same time. And if/when it's Ellington, none of those parts have time to be bothered by any of that.

But as far as the Braxton record goes, hey, you made the album you made and used the people that you used, if they did what you hired them to do, the complaint that they didn't/couldn't do past that, well, live and learn. That record is glorious as is. Whatever else it could have been, hey, time machine, go for a time machine.

You want the flipside, go to the 1978 orchestra and the Koln album. For that reason I much prefer it to the Arista (even though I love that one too, of course)

[kh1958]

Last evening, two of the last new releases under the Prestige label (post-Fantasy purchase).

Mark Soskin, Rhythm Vision, and

Patrice Rushen, Preclusion.

The Patrice Rushen release is quite fine, with Joe Henderson and Hadley Caliman.

[JSngry]

Last evening, two of the last new releases under the Prestige label (post-Fantasy purchase).

Mark Soskin, Rhythm Vision, and

Patrice Rushen, Preclusion.

The Patrice Rushen release is quite fine, with Joe Henderson and Hadley Caliman.

Yeah, Preclusion's a dandy record, and came out of left field, walked into the store one afternoon, though it was some new Herbie/Joe joint, which in 1974 was a real WTF?- ish consideration, but what's this, hey, she's cute too, I'll take a copy right now, please!

Before The Dawn, the follow-up, was a good record too, but more "contemporary"/fusion-y in approach. Not silly music, just different in orientation. After that though, she began to explore other facets of her talents in other musical arenas. Obviously. But to this day, when I see her name in the credit on any "jazz-related" project, I'm not instantly put off, because the woman still has skills, fine skills. I wish hse'd do a Joe Sample and make a straight-ahead trio record for East-Wind and get it released in America on Inner City.