ep1str0phy

Baikida Carroll. Anyone?

I thought this was reissued on CD on Black Lion many years ago. Might you be thinking of Coon Bid'ness? Another criminally badass album. Was it reissued on Black Lion, though? From what I can recall, there were two Freedom CD reissues (the most recent one had new packaging and probably a remaster--that's the one I have). Edit to say this is the first time I've ever heard this album. And it's rocking me hard.

Listen man, I am not disagreeing with you - I would just prefer something to answer the question at hand, like whether this was insanity on Stollman's part or whether there was a major mainstream news article anywhere on Coleman around 1960. It would help, but picking at inconsistencies on my part doesn't help the question get answered, nor does claiming my philosophical ignorance help me, or anybody else on the board. We are all good at making one another look like asses around here, hence my original response, so it would be nice to redirect it to something helpful. Of course I don't know - but I am genuinely curious if someone around here could help by suggesting exactly what should go in place of the passage in question in the Stollman interview. I'm happy to alter it with something more concrete. OK? Well, there's this thing: Ornette -A little past 1960, though.

I understood that. And I have trouble with irony. Goodnight, folks.

First--this is BULLSHIT. Two--something very similar happened to me not too long ago... I was trying to clear an intersection, some cat comes out from the side (didn't see me coming, although I was fairly clear into his line of vision), almost T-bones my honda. Anyhow, quick responses prevailed... 'cause if I hadn't floored it, I would be dead by now (he took out the entire back third of my car). Anyhow, the guy wasn't drunk--he was just driving a seriously dilapidated automobile--I mean, phenomenally slow--without any insurance to speak of. To work. For his family. Teenager, by the way. To compound the unfortunate circumstances, this was his second or third accident in recent memory... and he didn't have a license. Oops! Premiums rise, that's for sure. Regardless, insurance will fight tooth and nail--that's their job, they get paid. But if this 18-year-old drunkard was driving without insurance, there are grounds for legal intervention... punitive repercussions should be substantial (in whatever sense--formal or informal). Regardless, I'm a huge fan of Mr. Ranelin's, saw him with Michael Sessions at LACMA this past summer. There are few trombonists I hold in equal esteem, and his albums have always been a joy of mine. I pray for his recovery.

Depends on whether you're Dolphy or Coltrane (as per your post above). I was speaking from the perspective of a listener, versus the artist him/herself (to which song titles are, often, eminently important). To qualify that statement, the importance of song titles to the artist can have some bearing on the listner's enjoyment (as well). Regardless, I think the issue is contentious (as you may agree). On the topic of the LPs--glad someone's been looking into it (JSngry). Anyone else listening in for this stuff?

Strange, severe things happen when you go to take a nap. Wake up and the world is a little different. R.I.P. to a Legend.

I'm not positive, but I'd bet on it. The way the layout looks, the designers probably just slapped some "groovy" looking print on a rare photo/outtake.

Christ, has no one seen this group?

Just got back from the 10 pm show (Thursday). Happy to say that I'm pleasantly surprised. Can't say that I was totally devastated, but the magic's still there. This isn't quite the rip-roaring A-Bomb of days past, but there's a definite sense of craftmanship to the group. Strong compositions, phenomenal arrangements, beautiful playing. Highlights (for me) included a wonderfully constructed tuba solo (Joe Daley), some fine tenor passages, and Curtis Fowlkes going apeshit. Hell, the whole band was beautiful (I just happened to be sitting in front of the horns). Too late to write coherently, but just enough to telegraph the love. See this band. I'd heard that the turnout wasn't too good (it was fine tonight)... this band deserves better. --ep1str0phy, basking in the irony of his previous entry... Edit--Venue! They're playing at Yoshi's. In Oakland.

I'm adding this 'cause I just got the album: Charles Tyler: Black Mysticism (from Charles Tyler Ensemble, ESP) Grimes is just outrageous with the multi-stops. I love it when he cuts loose.

Anyone want to dig up the "removing sticky stuff from CDs" thread from a couple months back? I have no idea what it was called.

Charles Tyler: Charles Tyler Ensemble (ESP) Teddy Charles (etc.): Evolution Joseph Jarman: Song For CT is kicking my ass.

Condolences and best wishes.

Maybe I'm in a minority but I really don't like Carter's cello playing, at least in the 60s. Guy I'm serious about those 1/4 tones. In the right moments, Carter's cello playing can be remarkably effective. I'd heard the anecdote that he was sick while recording "The Quest"--apocryphal or no? Regardless, I can't hear a substantial difference between his facility on the Waldron date and "Out There"--and I'm a tremendous fan of both sessions. I think he can drag, but the angularity of that cello sound is (usually) an asset--especially on ballads, especially bowed. At the very least, he's a great foil for Dolphy--grounded in convention, slightly askew. I couldn't imagine those New Jazz dates without him.

"Free Form" has always had me floored--some of my favorite solo improvisations (with fine contributions by Bley and Swallow, when they're present). I'd say that the 80s/90s cuts don't have quite the same "bite" that the others do--not so urgent, revolutionary. However, the improvisations are just as intricate, and the inclusion of more ostensibly "inside" foundational material goes a long way toward contextualizing the trio dynamic. I may not pull it out a lot, but "Fly Away Little Bird" is just beautiful.

Really, Dolphy makes for excellent atmosphere. There's just something so evocative about that tone, the lyricism, the intelligence. Wistful and robust, all at once--just like winter.

?? Nevermind--I had a case of spontaneous dyslexia. Excellent for confusing discourse.

I'm pretty sure it's OOP--my copy is a Savoy reissue from the mid/late 90's (some of these floating around, I guess). As far as Guy's comment goes--I'm laughing on the outside.

1. Eugene Chadbourne is an interesting musician. 2. His "review" is obviously copped (out of context) from some other source. The reference to Byg, etc should be a tip off. 3. Just another way AMG messes up the world. Paul is a fascinating pianist. I'm sure you will get a bunch of good recommendations. And Footloose! is a great album, IMO. Very accessible post-bop/early free sides, many composed by Carla Bley.

I don't know why, but Hyperion with Higgins strikes me as more of a winter night sort of disc. Evening comes early this time of year... This is a hard one. So... Mal Waldron: The Quest (although it's kinda late autumn, too) Dewey Redman: Musics Joe Henderson: Page One Grant Green: Street of Dreams Roscoe Mitchell: Sound (a lot of AACM stuff, actually) I don't know why. I've spent some fine winter days with these, but I listen to them the whole year 'round. Frankly, I'm more of a "throw anything on" by day, "listen closely" by night sorta guy.

Cripes, he's still kickin'. The AACM was in high gear.

Really--Black Saint, Soul Note, Hat (late-70's too, actually), ECM... a lot of excellent material on small labels, too. I know some of us were there--I was born in the 80's, so all of this is retrospect for me. So... downtown avant scene? Euro free improv? The fallout from the loft scene? Ornette goes electric= sub-culture harmolodic movement? Great suggestions so far.

One of his best, IMHO. Birth and Rebirth is also a good one. Seriously, though. I'm all over this stuff.

Very much an extrapolation on the 60's Ornette style (w/tenor, of course): -Andrew Cyrille and Maono: Metamusicians' Stomp (Black Saint) -Don Cherry: Complete Communion, Where is Brooklyn? (Blue Note) (although Gato and Pharoah, respectively, caterwaul a bit--it may be a little disconcerting) -Anything by Old and New Dreams--a sort of pseudo-repertory band with Don, Dewey Redman, Haden, and Blackwell -A lot of 70's/80's Frank Lowe material, especially with Butch Morris I'd also recommend the Ayler Quartet (anything with Cherry), maybe Alan Shorter's Orgasm... but they might be a little too "out". Same goes for some of the Brotzmann tenor/trumpet quartets, Ayler's Love Cry (most of it, anyway), the tenor/trumpet material by the Blue Series clique... most of it is arguably closer to the "spirit" of Ornette's recordings than the Rollins sides (which are far more static, one might say "languorous", than the "O on Tenor" material).