My original bleak assessment of the future of this feature has mostly played out– I still just listen to the same batch of records over and over for days or weeks at a time. But a few more things have worked their way to the front of the pile this week, so here we are:
Gary Burton Quintet – Dreams So Real / Music of Carla Bley ECM
Side I: Dreams So Real – Ictus/Syndrome – Wrong Key Donkey – Jesus Maria
Drums by Bob Moses
Gary Burton – Turn of the Century (compilation) Atlantic
Side One: Vibrafinger – Moonchild/In Your Quiet Place – Fortune Smiles
Drums by Bernard Purdie and Bill Goodwin
Roy Haynes – Out of the Afternoon Impulse!
Side Two: Snap Crackle – If I Should Lose You – Long Wharf – Some Other Spring
Drums by Roy Haynes
Grachan Moncur III – Evolution Blue Note
Side One: Air Raid – Evolution
Drums by Tony Williams
A few YouTube selections from these records after the break:
Yeah, same here–Brookmeyer and Friends is still in the rotation–really chilled out, tippin' Elvin allowing Ron to be the bad-ass boss he is on this album.
This old one is new, though:
John Handy III, "Jazz", Roulette Records, 1962, with Edgar Bateman dealing on drums.
In the car, Clifford Jordan's "Glass Bead Games" with some other-worldly Billy Higgins paired with bassists Bill Lee and Sam Jones. How he and Jones freely explore the universe between straight 8ths and triplets in an "organically plastic" way is freakin' fabulous.
I've been going hog wild at the used record stores, and have been listening like crazy, although it's the little listening to a lot of stuff mode–not the best, but better than N#tflix.
Some of the rotation:
The Lee Konitz Quintet, from the 70's, on Chiaroscuro, with the great unsung Jimmy Madison on drums.
Dizzy Gillespie Orch., 1949, at Salle Pleyel, Paris, with slammin' Klook and Chano Pozo–Bam!
Albert Dailey, The Day After the Dawn, with some great 1972 Roy Haynes and David Lee. Roker's on one subdued cut, as well.
A bunch more,Hal Galper with the Brkers, Wayne Dockery and killin' Bob Moses, some Basie with Pres, Walter Page and Papa Jo when he was still just Jo. On "Shout and Feel It" Page gets four audacious bars of dotted quarter hemiola bass parallel to Basie's understated piano solo. Nothing new under the sun!
Coming to do a couple gigs in Portland in a week and can't wait to make my Crossroads Music trip–Whoo-hoo!