Simon Weil

  • Content count

  • Joined

  • Last visited

About Simon Weil

  • Rank
    Supa Groover

Contact Methods

  • ICQ 0

Recent Profile Visitors

1,985 profile views
  1. RIP Olly Wilson

    The use of the word "ghouls" is distasteful in an obituary thread.
  2. October Revolution in Jazz 1964... Any recordings?

    "When I showed up, the Jazz Composers Guild had already been in place for several meetings. There was already tension in the group, because of Bill [Dixon]'s notion that we were all going to form a cooperative against the record companies of the world. We would deny our services collectively to band leaders, to any record company, until we could form our own record company, which would take the lion's share of the profits in return for minor administrative tasks, which is how the musicians perceived the record companies. However, Archie Shepp had just been offered a contract with Impulse, and Bill believed that he should turn it down. You could see his point; it was built into the name: guilds strike. Historically, that's what they do. But Archie had a family to support and he sure wasn't going to turn down any money, certainly not a lump of money like an Impulse contract. That was is for Bill. He got up and left the meeting. He didn't return until months later. That was a problem because he was the founder. After that, Roswell Rudd and I ran the Guild for over a year[.] We started putting on weekly concerts where 5 bands would play... After the "October Revolution" Concert at The Cellar in 1964, enthusiasm was high - the phone started ringing and didn't stop ringing. We found the New York press loved the idea of a musician-run co-op... Months later, Bill Dixon showed up at a meeting and announced he was taking over the Guild again. We said. "OK, no problem. We're overworked and we'd love to have you." At this point the meetings were very well attended, because we realized that if we stopped showing up at meetings, the Guild would cease to exist... Bill said "...I want to have meetings at my house." The meeting was called, everyone agreed to show up, and we filed out. But when the meeting time came....nobody showed up..." Stopping Time - Paul Bley p92-7
  3. Grace Kelly

    You guys keep going on like this and your wives are going to get suspicious....
  4. Jenny Scheinman

    I've got all her records now. I saw her in Bill Frisell's InterContinental's band (London, ?2003) and, although her solos weren't that striking, something about her playing transfixed me. So I got the first 3 of her records - my favourite of which remains Live At Yoshi's - but I kind of held off after that, feeling she wasn't quite where I hoped she's be. More recently (maybe a year ago), I revisited 12 Songs, which I had always been a bit equivocal about, liked it and bought a big chunk of the rest of her records. Crossing the Field and The Littlest Prisoner seem to me quality performances by a mature talent. The second's her vocals - which aren't Jazz vocals - and a kind of modernish folk background, but I hear the same underlying sensibility in both. Basically I was looking for someone up to date who I could feel was doing real stuff when I bought the records - and these two fulfil that need for me. She seems to have the ability to put it across just as well in her self-penned folk(ish) songs as in her relatively complex Jazz(ish) performances.
  5. Grace Kelly

    She functions quite well as a foil in that video - Kind of a straight woman to Konitz's performance.
  6. Jacknife

    Oddly enough I'm doing something on Kevin Ayers, who is probably an example of that. (Not Jazz, came out of Soft Machine, which is Jazz Rock)
  7. Jacknife

    Knowing where you are isn't enough. Not in the end - Sure. But you have to get to where you can speak. Not so easy.
  8. Jacknife

    I don't know. It's pretty close to the centre of my sensibility.
  9. Jacknife

    I do enjoy a challenge, but I can be swayed by BS when It comes to listening to music (anyway in the short-term) in a way that I'm not when it comes to reading text (I believe I have a better literary ear than a musical one).
  10. Jacknife

    The stuff that gives me a sense that I've expanded my perspectives. I get very bored listening to same old. But I don't know that I'm that good at appreciating technical innovation off my own bat.
  11. It's kind of difficult for me to answer you on the point about style without specific reference (I fear I'm going to get caught betwixt and between). I do always try and get a look inside a book before I buy because of the issues you mention. The preview of the British blues background book is engaging. British Blues is not really one of my subjects, but the background goes to other places as well, and I can see how I might buy it for that.
  12. This is the link to What's That Sound 4th Edition £64.12 is the price there. It doesn't have any UK reviews, but the top 2 reviews from the states (imported to the UK site) do talk about price. This is a link to a search of versions of the book: What's That Sound ( There's a version available for rent at $14.99, but the standard edition still seems to cost $91 (though there's a loose leaf ed. for $63). Of course you could buy second hand.... My problem was mostly with the style - that's how I will characteristically go about deciding whether I want to buy a book, the first thing I'll look at is the style. I don't think I could read this book - so there wouldn't be a whole lot of point in me expending anything, let alone the high price. I mean, I did seriously look, because I could probably do with a book on this general subject (Though I have the Rolling Stone). My impression of the book was the actual stuff you need to know about gets diluted by the academic verbiage, the kind of rote sociological analysis and the decision made to take a "long" view of Rock history - so too wide and too deep a field. There might be value buried in it, but...I couldn't be bothered to look.
  13. It's expensive (£64), written by an academic for a University course and I found the style in the preview on Amazon unbearably dry. As It happens it also gives short shrift (or no shrift) to the groups I came into Rock with (Soft Machine and Fairport Convention - both rock-something else fusions).
  14. ...."Haitian Fight Song" !!! Yup.