WatermelonMan

I completely agree with you.
I added this album to the collection, but I couldn't include the ones I prefer the most by this gentleman, namely Dance of the Death and Black Fire, because I can't find them on the site. However, all those '60s Blue Note albums are of the highest quality, and of course, with excellent musicians. But even in the '70s, Hill was solid... Anyway, to make a long story short, I’m biased in favor of him.

Dolphy is always disarming, in a positive sense. In any collaboration, he shows up and slices through with a new light, stealing the scene from the main artist and thus "bending" their music, transforming it into "Dolphyana." It's a gift not everyone possesses.

You're right, zappp, Dolphy is Dolphy, there's nothing to be done; where he is, the record is also "his". Anyway, thank you, it's always nice to discuss a work with you!

Hard bop that reaches towards the avant-garde.
Fantastic record.

It's a mutual pleasure, Watermelon!

with Bill Evans we are literally in paradise

That trio has achieved unparalleled things in my opinion; all three had class, elegance, and virtuosity. I still mourn LaFaro for what he gave to his instrument and to music in general...

Bill Evans is one of my absolute favorite musicians. Over more than thirty years of passion for jazz, I've never stopped rediscovering him and experiencing beautiful emotions through his music. This is the most famous trio, one of the most famous in the history of jazz (if not the number one), lasting only a few years due to the sudden death of Scott La Faro. Anyway, in my (very modest) opinion, Bill Evans would go on to provide incredible emotions towards the end of his life, with the trio featuring Eddie Gomez. In albums like "I Will Say Goodbye," "You Must Believe In Spring," or the last live recording from Paris in 1979, almost all the records from those last melancholic years, Evans had reached a level of bringing joy and beauty through his music that I've rarely found elsewhere. His improvisations have a brilliance that perhaps reminds me of Mozart's piano concertos. Please forgive the truly daring comparison between two musicians from such distant eras and cultures. It is the joy that radiates from their music that brings them together for me. Thank you, WatermelonMan, for this revival.

Imagine, the comparison you made is not at all as daring as one might think; it's music that evokes immense emotions in me as well. Bill Evans is also one of the artists I hold dear in my heart...

I too tend to consider the Trio with LaFaro as the most formidable ever seen, at least the most revolutionary. Never before had there been such an equal democracy where the 3 musicians were 3 solo voices and support, feeding off each other and developing a telepathic interplay that became tangible due to the density they radiated in the air.

You are absolutely right, zappp... Surely, a trio with such "balanced" interplay and roles has never been seen before... and (perhaps) it will never be seen again like this...

you are resurrecting masterpieces in capital letters one after the other, after Bill Evans, here’s another one that is absolutely essential.

It’s still astonishing that sonic tangle that was the amalgamation and the wind arrangement that only Mingus could create so misleading, reminiscent of dixieland and at the same time directed towards the new thing.

When I listen to this album again, I can't help but feel enveloped, swept away, and certainly always amazed by that sonic melting pot. Mingus is another one of those brilliant minds who, with this album, forged his way into "free" without abandoning the orchestral jazz tradition, producing an album of literally "exceptional" depth. Another album that I hold very close, because it is HERE that Mingus becomes a Genius; as you mentioned earlier, just consider the arrangements, or rather the complex "tangle" of arrangements, to realize his genius...

A nickname, a program. After all, WatermelonMan has something of a Pastorius-esque arrangement (setting aside the fact that it predates Jaco by quite a margin).

you can also say masterpiece and no one will be offended :-)

The end of the grand illusion of the late '60s. The early '70s. Beautiful.

A beautiful album that unfortunately comes after What's Going On, and as a result, it feels a little overshadowed. But the level is high, and Gaye behind a microphone seems to be in the throes of an infinite orgasm.

Actually, I would have given it 4.5 if there had been a way to do so, but half points can't be assigned on this site. It's a pity because I consider it second only to What's going on, which, as you mentioned above, being earlier has somewhat overshadowed it...

You put this on in the evening and it's a wonderful journey.

title of the programmatic album, for Ornette's future intentions, and featuring a future classic like Una Muy Bonita.

A Very Pretty, great piece that...

as if we had come to an agreement!!