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Posted

One reviewer said that he drops the tenor on the last track and proceeds to basically butcher some Ornette composition with a saxello. Is it really that bad? Apart from that, the review makes this out to be a pretty good LP (w/Flanagan, A.T.).

Posted

This was discussed once at Board Krypton. I didn't hate the LP, not by a long shot, but I do recall that Bill Fenohr opined that Leslie had everything except "chops and ideas" or something like that.

Posted

I, on the other hand, dig it quite a bit, but I'll freely admit that it's "quirky", which obviously means that it's one of those things that you can get a vast range of opinion about. Leslie displays a musical personality that at times borders on perversity while all the while staying within a pretty conservative hard bopish framework (the totally unique and (for me) riveting version of "Lonely Woman" being the exception). Imagine early Bill Barron in a Fun House...

Not in any way a "safe bet", if you get my dee-rift, but if you never go...

Posted

And here's the difference between a musician's and a nonmusician's ears: I don't hear a great deal of "quirkiness" or "perversity," I mostly hear the standard hard bop framework.

Posted

I use "quirkiness" and "perversity" with total affection, btw. The guy just has a heaviness of attack and majes certain note choices that make him stand out form the crowd, and I like that, even if at times it's SO different as to appear willingly, uh, "pererse". But again - I LIKE that!

  • 1 month later...

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