soundenvelope

Karl-Michael (yes? - or Horst?) What a delight to hear from you in the context of the show - and to learn about the work that you are engaged in. Thank you for sharing the visual work and introducing me to the site. Stephen Haynes

This just proves the fact that I am overdue to visit you and Buffalo, Chuck. Hope you and the family are faring well around the 'big snow storm.' And the subject at hand - the recording. I have not listened, though I would, I suppose. Though I did 'study' with Professor Graves, I have not followed his music past a certain time period. Have always found the price point on the label to be high. Perhaps if I understood how/if that high price signifies income for the participating artists, I might be convinced to buy in and purchase. I have the trio with Enrico Rava, Cyrille and Parker. Joe Morris gave me his copy, suggested I listen to it, the the sound reminded him of certain things/people. Anyway, I am off topic. Or maybe not.

After years of not looking at Organissmo, I see this. Thanks for calling my name (and Bill's) Clifford. Two thoughts: We can't discuss On The Corner - the sessions or the edited album - without calling up Paul Buckmaster's name and understanding his role/involvement with the project. Miles had a gift for gathering together players/arrangers all of his life. OTC is no different. Dig this: Paul Buckmaster / 2009 Interview. And can we please - at the risk of causing agitation in the thread - move away from the subjective when engaging with recorded work? We all get to like or dislike music. I am a fan of the subjective - particularly when I simply do NOT want to talk about someone's work. Can you dig it? But engaging with the work - doing the work of the listener on whatever level any of us are able/prepared to do - is something else. That sort of conversation/thread is something useful. Ideally, we all learn from each other. Love to you all where/whoever you are/may be. Keep listening!

Sharing news of an exciting - and unusual - new exhibition at Zürcher Gallery, New York. This is visual art created by eight musicians: Marion Brown, Bill Dixon (rarely seen lithographs and woodcuts), Douglas R. Ewart, Ted Joans, Oliver Lake, Matana Roberts, Cecile McLorin Salvant and Wadada Leo Smith. The show is up for two months: November 10 - January 10. If you can't make it to see the show, I suggest you pick up the catalog ($20) as it is a beautiful thing. Link to the exhibition, including a link to a PDF of the catalog. The print version is far better!

RE: Pomegranate Wanted to share the news that my new album, Pomegranate is now in the preview and pre-order stage and will see release on June 9. Thanks to all of you who supported the process of creating this work, and thanks to all of you who have has patience with the rate of speed of our production schedule. We have learned much during this dance and are already stirring the pots on a new project/release as well as the start of my own imprint, Sound Envelope (initially, for the release of unreleased archival material) in collaboration with Ed Ricart and New Atlantis Records. Preview in Burning Ambulance http://burningambulance.com/2015/05/08/stephen-haynes/ Pre-Order and Information at New Atlantis Records http://newatlantisrecords.com/product/na-cd-015

I don't buy from DMG. Who else will have it? Squidco? Squidco has Pomegranate available as a pre-order, if I am not mistaken. And yes, you should be able to pre-order from the label. Thanks for your interest in the music, and for your abiding patience with the production/release cycle.

Pomegranate New Atlantis Records Stephen Haynes/cornets Joe Morris/guitar Ben Stapp/tuba William Parker/contrabass violin, sintir, bass shakuhachi Warren Smith/drums and percussion, marimba I Sillage II Mangui Fii Reek (I Am Still Here) III Pomegranate IV Becoming V Crepuscular VI Odysseus (Lashed to the Mast) All tracks, Stephen Haynes, Somnambulist Music, BMI March 15 & 16, 2013 Firehouse 12, New Haven, CT Studio and live (#3 & #4) Recorded and mastered by Nick Lloyd Produced by Stephen Haynes This project is a dedication to Bill Dixon: teacher, colleague and friend. Wanted to let folks know that my long-awaited recording, Pomegranate, on New Atlantis Records, will arrive during the first week of June 2015. Pre-order is already available on a number of sites (e.g., Downtown Music Gallery). Content is winging it's way to critics/writers, and I am in the midst of mailing packages to 100 Indiegogo supporters. Re: the delay - long story short - we opted to move the release back a bit in order to better utilize a special promotion effort on the part of our domestic/international distributors.

I am considering making the move away from partnerships with labels and starting to release my own work independently. Who do you all recommend for a good CD replication company. I am familiar with Disc Maker. Are there others worth paying attention to?

Having a cut would be grand, Paul! Joe is a good friend as well as a musical colleague. We co-curate a series here in Hartford, CT, Improvisations, at Real Art Ways. Joe is also a member of my trio, Parrhesia, with Warren Smith as well as my new quartet (a 2-bass project) w/Joe, William Parker and Warren Smith. The quartet will record in March 2013 at Firehouse 12 in New Haven. I do feel that Perpetual Frontier is quite important on a number of levels, and that folks need to hear/know about it. Not just for musicians, the work opens up doorways that will help listeners apprehend the music, what it is, how it works, in a manner that will enhance the listening and aesthetic process.

The fact is that very few musicians are able to consistently make a living performing. Traditionally, survival has always meant/included teaching for those who are able. With the growth of the jazz education system in colleges/universities, a lot of work and, sometimes, economic security has been afforded. Are all of the folks who are teaching practicing artists? Should they be? Good teaching/mentoring, wherever it occurs (on the 'scene' or in the schools) is what is needed. More troubling than anything else in all of this institutionalizing of the music and how it is taught is the conservatism that rises through the codifying of pedagogy. The music does not fit neatly in a box. And teaching should not have the effect of stifling the growth and development of the music. Tradition should be a living thing. For me, the most interesting work being done with teaching the music comes from Joe Morris. His new book, Perpetual Frontier: The Properties of Free Music will change things. Read about it here: http://www.pointofdeparture.org/PoD39/PoD39PerpetualFrontier.html

This is not 'new' news, but I felt the topic deserved it's own thread. Bill Dixon's Odyssey, an artist designed/produced/assembled box set is available again. This limited edition (1000) featuring six CDs, primarily solo trumpet works, along with soft-bound booklets(2) of Dixon's art work and writings (by and pertaining to Dixon) is numnbered and signed by the artist. There are no plans to reissue Odyssey once these copies are gone. There are two sites, approved by Bill Dixon's estate, that distribute Odyssey. Here is a link to the Odyssey sales pages: http://www.musicstack.com/item/5632967 http://www.discogs.com/buy/CD/Bill-Dixon-Odyssey/54873157?ev=bp_titl Read more, along with track listings here: http://www.allmusic.com/album/solo-works-odyssey-mw0000984012 We have not yet built a new website for Bill Dixon and his work. We are engaged in an exhaustive pre-archival cataloging of his music, scores, notes, etc. For now, the best place to stay abreast of developments is the Facebook page for Bill Dixon. Thanks for your continued interest in Bill and his work.

It is worth knowing, for those of you who are paying attention to this, that Odyssey is a limited-edition product, created (and assembled), signed and numbered by the artist. There are no plans to re-issue Odyssey once it is gone. Bill Dixon was a tireless documenter of his own work. You get a taste of this with Odyssey. He left alot of unissued music, ranging from solo to orchestral work. And that's just the music. Stay tuned for details.

This is exciting news. The ensemble with Milford Graves in it features some of his finest work, and the whole group is at the top of their game. I love this period of Roswell's work.

Try Aldo Sinesio on Facebook: http://www.facebook.com/aldo.sinesio