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About colinmce

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  1. Dave Bartholomew is 100 years old!
  2. What's odd about these companies falling under the same umbrella is that their pricing is so different. I find importcds to always be cheapest, shipping is free, and as Felser said they usually run bulk discount deals on ebay. Collector's Choice sells through Discogs and charges $3 per item to ship, no combination, so they're almost always a terrible deal.
  3. I really like decluttr (though their pricing seems to be moving toward the more algorithmic model, so I think the age of amazing deals from them is over) though yes I do only buy from them when I feel certain I will receive the pressing I'm looking for.
  4. I just ordered from them accidentally-- if I had known who it was I wouldn't have placed the order. Paid immediately, no activity for 5-6 days; sent a message through ebay asking if it had shipped, got a shipping notice about 30 minutes later. It's through DHL, which in my experience is always a complete disaster. Currently bouncing around like so ^ Edit: Forgot to mention, the seller name on ebay is bargainbinmedia, but it's just Movie Mars. Trash.
  5. So, What Are You Listening To NOW?

    This one is so magical I almost try to listen to it sparingly. Thus, it's always a special day when it gets a spin.
  6. The Rob Brown group stuck out to me as one I'm really looking forward to hearing. Also a huge fan of the Trio Exaltation record on clean feed.
  7. Wondering if anyone would be willing to part with this one on CD, let me know!
  8. Marion Brown: Le temps fou

    Not finding much distribution on this reissue besides Soundohm, which requires a subscription. If anyone knows who else might be holding let us know:
  9. Modern/Avant New Releases: A running thread

    2 very strong-looking titles from Otoroku: Hi there We're very pleased to announce two new CDs on our own in-house OTOROKU imprint. First up is Tree Dancing, by the incredible quartet of Lol Coxhill, Joe McPhee, Chris Corsano and Evan Parker. This recording from the earlier years of Cafe OTO documents the impossible pairing of four contemporary giants. It's one of those miraculous one-off groupings that reminds us why the venue opened in the first place. Alongside this is Seasons Changing, a 2CD set documenting two very special sets at OTO in November 2017 from the trio of Charles Gayle, John Edwards and Mark Sanders. In classic ecstatic fashion one would expect from these three stalwarts of blazing transcendence these two sets swerve from the sublime to the this is an exquisite document of one of the most exciting trios operating today, Both releases are now available to order via the Cafe OTO website, as well as a special bundle deal for both releases. Orders will be shipped early next week. Full details and links below. All the best, Cafe OTO ROKU021 Lol Coxhill / Joe McPhee / Chris Corsano / Evan Parker - Tree Dancing CD CD – £10 (£8 members) “The magic of the first minutes – an alto solo by Joe McPhee of true purity – soft-spoken, masterful and accomplished – brought back to mind the blissful Coleman/Haden duet last year at the Royal Festival Hall. ‘Ornette gave me freedom to move in a certain way,’ said McPhee. He searched hesitantly and carefully for his words, all the more surprising from such an articulate musical (or, as he might say ‘muse-ical’) practitioner and campaigner. Coleman’s 80th birthday coincided with McPhee’s stint at Cafe Oto. McPhee and his co-musicians delivered an intense performance which was both creative and restrained. With Evan Parker ‘s tenor in tow – a collaboration going back to the late 70s – and Lol Coxhill, sitting with head bowed intently, a soprano master – it could have gone anywhere, yet they worked off each other, often in the higher registers, building up almost bird-call like interactions and trills. Earlier, Chris Corsano‘s drumming presented a dense bedrock for McPhee to play against, and his solo spell was a crisp exercise in sonic curiosity. McPhee picked up his soprano mid-way through the second set, heightening the lyricism of the three saxophones. Then, being a devotee of Don Cherry, he switched to pocket trumpet, allowing him to interject, and punctuate the concentrated sound layers built up by the quartet, and lead the music out through a different door” - Geoff Winston ( Recorded 10th March 20010, this is also a document of the only time Lol Coxhill and Joe Mcphee shared the stage. The recording is a little rough, but hey. so was your birth. Limited to 500 copies. ROKU020 Charles Gayle /John Edwards / Mark Sanders - Seasons Changing 2CD 2CD – £15 / £12 members Charles Gayle is a saxophonist, pianist, sometimes a clown and radical musical performer wrapped into the body of a humble person living in Downtown Manhattan since the 1960s. As this set attests to, It is sometimes hard to predict what he will do on stage... In all his musical (and personal) life Charles Gayle has remained outside of any form of mainstream, carving his own singular path. There is no player on the scene today with the emotional wallop of Charles Gayle. John Edwards is a true virtuoso whose staggering range of techniques and boundless musical imagination have redefined the possibility of the double bass and dramatically expanded its role, whether playing solo or with others. Perpetually in demand, he has played with Sunny Murray, Derek Bailey, Joe McPhee, Peter Brötzmann, Mulatu Astatke and many others. Ubiquitous, diverse and constantly creative, drummer Mark Sanders has worked with a host of renowned musicians including Derek Bailey, Henry Grimes, Mathew Shipp, Roswell Rudd, in duo and quartets with Wadada Leo Smith and trios with Sirone and William Parker. Here we present a 2CD set documenting the two very special sets delivered on the 15th of November, 2017 at Cafe Oto, Dalston, London.
  10. Mosaics you’re still on the hunt for

    I never did get my hands on either of these despite at one time having about 80% of the Select series. I am very much in the market for both of them, however they seem to be, with the exception of the Pendulum set, the most expensive ones secondhand.
  11. The trio record was/probably still is on youtube, and it is indeed excellent & well worth it imo.
  12. Just released on CvsD: ICP Tentet - Tettertettet Pukwana/Bennink/Mengelberg - Yi Yole Along with an unreleased live recording of Sounds of Liberation and a Torbjorn Zetterberg disc
  13. Oh you're right, that's odd. It can be found at Squidco by searching however, or looking under the Just In section.
  14. Almost three and a half hours of music for an evening at Le Dunois. Two DB - HB - EP trios of more than 40 minutes. Two 12 - and 27 - minute DB - EP duets, a 30 - minute DB - HB duo, two 12 - minute HB - EP duets and two 11 - and 10 - minute EP solos. If Evan Parker and Derek Bailey collaborated closely in duets and other ensembles such as Music Improvisation Company and then Company, as well as with the Spontaneous Music Ensemble (the album Karyobin and the legendary double ceded The Quintessence for example), it's mostly in duet with Derek Bailey that Bennin has been performing for years. Jean-Marc Foussat, the lighting director of FOU Records, has been an ubiquitous, enthusiastic, selfless and generous soundman ever since. We owe him some superb sounds for these musicians: Aida, a solo of Derek Bailey, Pisa 80 An Improvisor's Symposium of Evan Parker with Bailey Lovens Lewis etc ..., Epiphany of Company etc ... Today, after checking carefully the circumstances of the concert and the recording with the protagonists and witnesses like Jean Buzelin and Jean Rochard, Foussat decided to publish the entirety of it. Maybe Derek Bailey or Evan Parker would have picked enough to sell two. Since the time of the recording of Topography of The Lungs, a flagship album recorded in 1970 as a creative manifesto for the independent label Incus founded by Bailey, Parker and Tony Oxley, a lot of water had already flowed under the bridges. Topography was then the expression of a sound exploration in the margin of the instrument. Each instrumentalist assumes, directly or in their own way, the "non-idiomatic" demand expressed by Bailey a few years later(see his book Improvisation Its Nature and Practice in Music) within the free-jazz phenomenon completely free and aggressive panzer trend -muzik of Brotzmann and Schlippenbach. But also the music of this album is that of a collective welded and coherent with a common musical goal, the discovery of new sounds and modes of games and completely revolutionary improvisations. In 1981, this concert features three individuals who have evolved since the year of the recording of Topography of The Lungs and tiennnet to emphasize their differences. It is clear that Bennink and Parker do not have the same concerns. Derek Bailey has found a personal style that will find its most beautiful expression in 1980 in the acoustic album Aida (Incus 40) and his virtuoso playing on the electric, based on the use of a volume pedal, has acquired in a clear and logical way with its partners. Evan Parker has embarked on solo soprano sax music (an illusion of polyphony with circular breathing) as can be heard twice in this set. And he too has created a very personal universe where the oblique treatment of melodic and sometimes repetitive elements with a magical inspiration meets his immoderate taste for alternative breathing and articulation techniques. Han Bennink has abandoned his drums drums composed of Chinese drums, woodblocks, bells, scrapers, Indian tablas, a multitude of cymbals and rattlesnakes of all sizes and provenances, not to mention this gigantic bass drum, for a much more basic ancient kit. His current style refers more to the sound of Baby Dodds than to that of Elvin Jones, reintroducing African rhythms as they are heard on the ethnological field recordings he collected eagerly (Ocora and Unesco). He adopts a host of instruments: it is heard here to the clarinet and trombone with which he opens the hostilities in the trio of CD 2 with a real talent while playing drums with the feet. A little farther, it is with the harmonica that it is inserted between the two duettists British. But it was not unusual for him to fight with a violin or banjo sitting on the floor. It is also heard to whirl the pulsations and strikes on the surface of these instruments as if all the furniture of an apartment was flying down the stairs bouncing on the steps. Rather than creating a universe based on a common denominator, each artist, and especially Bennink and Bailey, tries to train the other towards his personal fads. On the first trio of CD 1, Bailey can barely be heard playing the acoustic guitar surrounded by the loudness of the other two. Likewise, in the HB - DB duo of CD 4. This CD 4 closes with a fascinating duet from Parker to soprano and Bennink to clarinet and bass clarinet, which manages to cope with the prodigy. As this is probably the second and final meeting of these three essential musicians, these recordings should alert all who are interested in near and far improvised music and recall the importance of Dunois 28 in the musical life of the improvisation. Steve Beresford just made a comment about a trio gig at the Little Theater Club, presumably in the early '70s. Extraordinary moments and brave attempts to diversify sound and sound practices are removed from this album. hold the challenge of the duration and diversification of improvisations. Paris topography of a multiplicity of sounds and musical actions and a real complicity between three major artists. These recordings contain all the ingredients of free-music, the explosive energy is close to the trance, the silence is approached with a lot of sonic details, the madness of Han Bennink Bailey presses in its last entrenchments, even in the airy sequences by inventing unforgettable rhythmic figures. If Parker seems imperturbable, he does not hesitate to burst the column of air and warm his reed. Despite inevitable overflows (Bennink!), A deep listening binds the three musicians, especially trio. The Cd2 Trio also evolves unexpectedly, expressing very validly the philosophy of Project Company in its approach to renew and extend the practice of improvisation. I also add that we hear the audience laughing with the jokes (visual) drummer. Some would say that these four CDs are too long and excessive. I maintain that the exchanges and follies contained here exert (still and ever) a real fascination and that they drag us into extremes to which a studio session does not always succeed. Thank you Jean-Marc, Han and Evan for having authorized this unexpected and highly delightful release!"-Fou Records (via Google Translator)