ATR

Whether he succeeds or not is a matter of interpretation.

I wonder how big the run was on the dvd. I have both the laserdisc and dvd, Fwiw. The Cecil Taylor performance from this movie has been up on youtube forever, broken up into three parts IIRC.

I saw American Hustle yesterday, and I was interested in the use of 'Jeep's Blues', from the Ellington at Newport album, as the opener to the film and the lovers' theme music. The original record, as we know, is a famous fake as well. The full story pretty much was told in the liner notes to the 1999 two disc complete edition, which contains two versions of 'Jeep's Blues'. Just out of curiosity, and I did listen to both today, does anyone know which version was used in the movie and whether the film makers understood the layers of irony in using this composition? I can't find anything on the web that suggests they did, maybe they just thought it would mostly go over everyone's head. As if the use of previously unreleased Electric Light Orchestra wouldn't go over mine.

Thanks. I have not mentioned the Roscoe release 'cause it would seem self serving. It is a fine recording. well I'm interested in Roscoe and only have so much money. He's had a number of releases including a Rogue Art. Which one tops the list ? The Rogue Art session looks like Roscoe composed pieces and played them with Nicole Mitchell's group. The Live at A Space is a Sackville reissue. There is a quartet with Lateef, Ewart, and Rudolf entitled Voice Prints that is lower energy and intensity but in its own way just as good a listen as the duets/trios with Sorey and Ragin. Beautifully recorded, too. I recommend that one as well. Save up and get it next year.

Is that your 'Crouch Opinion'?

Although I see a lot of music there I haven't heard that could be excellent, I'm discounting any list that doesn't include Barry Guy New Orchestra Small Formations, 'Mad Dogs' on not two. It's a five disc set, maybe people just haven't heard it. Extraordinary release. Also the duets of Roscoe Mitchell with Tyshawn Sorey and special guest Hugh Ragin on Wide Hive are ear opening.

Still waiting for Outlaws and Gladiators.

Threadgill always referred to him as 'Difda'. As we know, he's not the only member of that large group of musicians who was marginalized by the music 'industry', or whatever you want to call it. I felt bad for him, although I never met him one to one. He looks so vibrant and powerful in the photographs from the sixties and early seventies, so elderly and diminished in recent years. I assume that dental problems contributed to some of his loss of playing ability, but I'm not one to comment on this having no direct knowledge. It's a rough life, and those musicians should be celebrated for the risks and sacrifices they take to play their music with such small prospect of any reward. God bless him and his kind.

I saw Lou Reed at several jazz gigs I have attended over the years in NYC. More than once I saw him at a Sonny Rollins gig... and he was a very enthusiastic audience member as I recall. "Walk On the Wild Side" had some nice Tenor Sax and upright bass on it. Anyone know who the players were? John Cale is still around... Klaus Voorman also plays electric bass on Transformer. Somewhere I saw on the web that Herbie Flowers described how the bass sound was achieved by combining acoustic with a second electric part played with a delay. I think he played both parts on Walk on the Wild Side.

I bet Lou Reed dug Wynton Kelly and Red Garland. Then again, maybe not. I wonder what happened to that snotty music student.

Miles didn't play harmolodic music. But if he had hired Ron then he would have played with Albert, Cecil, Ornette and Miles. I heard that Downbeat did a blindfold test with Steve Swallow and he was played a track from Eye On You. His reaction was 'Wow, what is this stuff?'. He dug it. Unfortunately, it didn't make the cut to the magazine.

Sounds like he's playing a cardboard drum set and the other three don't sound much better but it's a ferocious performance. Thank you and good-bye.

Outstanding record. I should have recommended it along with the other Decoding Society albums I mentioned.

My own personal preferences for listening to RSJ on record would be Decoding Society: Eye On You, Street Priest, What Spirit Say With Cecil Taylor: Live in the Black Forest With Blood Ulmer: No Wave With Akira Sakata: Mooko With Albert Ayler: Live at Slugs Saloon Not to slight One Too Many, Power Tools, the first Last Exit, or the Leo Smith Golden Quartet which are also well worth hearing. I like Dancing in Your Head and Body Meta but more for Ornette and the concept than for anything particularly noteworthy that Ron is playing. There are several youtube videos of him with Prime Time that showcase his work much better. Too bad they took down the Saturday Night Live performance, because that one was heavy. If he ever played piano I don't remember it. He liked to play a variety of small horns and other wind instruments.

I saw him play many times, worked with him on the Eye On You record. A great drummer, bandleader, and gentleman. I wish I had seen him with Ayler, but you can't have everything. Bless you, Ronald Shannon Jackson.

A copy of Mad Dogs arrived today, package intact and discs firmly situated on their respective hubs. Barry Guy is always up to something virtuosic, different, and worth hearing. I could recommend a bunch of recordings in a similar vein just as good but anyone who picked this up probably already has them.

Still a beautiful album and a great photo of Jerome Cooper taken by Doug Fidoten at Soundscape a few hours before the concert. The rehearsals for Shannon Jackson's Eye on You were held at Soundscape. Other loft favorites of mine are Enchance by Billy Hart, Conference of the Birds by Dave Holland, and Roi Boye and the Gotham Minstrels by Julius Hemphill.

Craig Harris, Souls Within the Veil. Byron has some good moments in that ensemble. Not what you call 'audiophile' recording. I read the article. I have no problem with what Byron says. The headline is over the top, though.

Most likely. The Love Revolution, a splendid set BTW, is not the trio with Izenson and Moffett. It is a quartet with Blackwell, Haden, and Izenson. Not sure if you meant this as a response to what other Izenson/Moffett trio recordings are out there or not.

http://inconstantsol.blogspot.com/2008/06/ornette-coleman-paris-concert-1966-71.html It appears that the other tracks are with the Izenson Moffett trio from '66. Haven't listened to the LP in a long time, but it seems to fetch a good price on ebay.

The LP only says November '71. There may be two concerts on that trio LP, can't remember. Doesn't it say on the LP? Nope.

I've had this Japanese Trio double LP for years. Seven compositions. Just got what appears to be a CD version with 4 tracks. The CD booklet describes it as being previously released on bootleg LP with mistitled compositions. Have they left off 3 tracks, or was there another LP version of this concert?

Is this the book he abandoned 'Outlaws and Gladiators' for? I always like to hear 'The Crouch Opinion'.

Joe Morris did a 4 CD set with Braxton That's what I was possibly remembering. I knew he'd have done something (at least) that fitted the bill I can't recall Blythe recording with that trio alone, he had drums or percussion. Steve Reid is on The Grip and Metamorphosis. Skies of America has everything, including drums.

Joe Morris did a 4 CD set with Braxton