Thanks for this. I am interested to hear this. In his career I thing he played the field ( so to speak) but I am used to hearing him in sideman capacity on some west coast lps from early 50s. I may be attributing the leaders styles of those sessions to him erroneously. He can however play that style well as a sideman.
Steven Lugerner - For We Have Heard Darren Johnson - trumpet Myra Melford - piano Matt Wilson - drums Steven Lugerner - double reeds, clarinets, flutes, saxophones
Larry Ochs' The Fictive Five 4 Ochs compositions ranging from 4:23 to 24:49 Sometimes a 67 minute + length recording like this might wander into dead spots but this one is just one of those recordings that has everything going for it. Sounds incredible. Pretty much as strong a sax/trumpet combo as can exist, dualing world class bassists and the drummer's finest performance I've heard from him. Ochs is mostly on tenor saxophone here with a bit of his sopranino sax in a couple of spots Nate Wooley on trumpet Pascal Niggenkemper & Ken Filiano on bass - the most incredible aspect of this extraordinary recording - both use some subtle effects to augment the awesome uniquely different sounds they coax out of the big upright contrabasses Harris Eisenstadt on drums On Tzadik records Recorded 12/5/14 at East Side studios in NYC
Michael Moore – Fragile (Ramboy Recordings) — Michael Moore - alto saxophone, clarinet, bass clarinet; Harmen Fraanje - piano; Clemens van der Feen - bass; Michael Vatcher - drums/glass harp; plus Ab Baars - clarinet (2 trks)
I don't know what possessed me to put this on the other day, haven't listened to the album in years and never loved it, but I've been really enjoying it the last couple of days. I think maybe listening to the Sound Museum albums got me thinking about some of the pieces -- like "Homegrown" and "Macho Woman" -- that show upon the later albums.
In the early 70's, when you walked by Ornette's place in Soho (NYC) during the day, he might be playing with the door wide open, or he might be behind the camera filming a group that was playing. It was easy to see him, even in the daytime.
Thanks mon amie Jacline! I'm a lucky man. I have a wonderful wife. She helped me so much in getting through the worst year of this decade (when I was taking care of my dying Mom and my depressed and not quite rational Dad) and then my life got better day by day afterwards. We're so well-matched.
This is actually my favorite Prime Time record, although I guess it's avant la letter. There's something warmer to the funkiness here than on later recordings. I especially love "Voice Poetry." L.
Wow, thanks for that post, I'd never encountered the phrase "avant la lettre" before. Cool term (those French!)
The Red Holloway/ Clark Terry Sextet- Locksmith Blues (Concord Records 1989) Red- alto & tenor/ Clark- trumpet & flugelhorn/Paul Humphrey- drums/ Richard Reid- basses/ Phil Upchurch- guitar/ Gerald Wiggins- piano
I love In All Languages, that's not just my favorite Prime Time era album (split as it is between PT and the original quartet, and I think it's probably fair to call Body Meta a Prime Time album, I've always thought of it that way), but one of my all-time favorite Coleman albums. Just great material (albeit everything only gets a short workout), and the way the electronics are integrated, it just feels whole and joyful. It's also s my favorite iteration of the Prime Time band -- with the two basses and the two drummers and the two guitars, it's almost like the Free Jazz double quartet, except there's only Ornette as a front line player, though really "front line" isn't an appropriate description of the kind of harmolodic musical cubist impulse with which everyone's attacking the song. In All Languages is really the only PT recording I've returned to more than a little over the years. Body Meta always felt a little herky jerky to me (like the Ulmer Tales of Captain Black album) and while I did like RSJ as a drummer on his own stuff, I never loved the drumming on Body Meta, but I've really warmed to the record this time around and the material is really good. I've actually also been thinking about the live Caravan of Dreams album, which I also haven't heard in years, but I've been meaning to dig out.
To me, Coleman will always mean "the Hawk". I consider myself very lucky that "Body and Soul" was my first jazz record. Everyone should give it a new listen. Pure improvisation. P.S. This youtube audio is very poor sound relative to either the 78 or common LPs and CDs, and is only an incomplete fragment. That is a real problem for people only exposed to music through such sources as youtube.
Thanks for sharing the audio upgrade. As a teenager, I first heard it on the Voice of America jazz radio broadcast by DJ Willis Conover, and walked to the store the next day and bought it. Willis Conover - Wikipedia
Here's that In All Languages era PT band show from Cologne I was trying to post.... My favorite Prime Time stuff...
I don't care for it either. I bought a copy when it came out and saw him perform in Oakland when he performed the music and it was my least favorite performance of the times I saw him. We didn't get Stingk for the show and I can't recall the male singer that replaced him for the tour.
RRK could play anything and he had a lot of musical interests so there was some variability in his song and style choices from Coltrane to pop songs of the day. I prefer Left And Right over Volunteered Slavery but I do like it.
Today's live jazz intake: 1978 -> 1986 -> 1993. Tenor -> baritone -> alto. I have run out of time to round it to a world saxophone foursome, although Curtis Clark, Don Pullen and John Hicks make a lovely trio of pianos here.
