ep1str0phy

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).

FMP (from my perspective ) , lack of interaction characterises too much of Roach's work. Max is an amazing drummer but "iffy" partner. Perhaps, although I found some interesting pieces of dialogue with close listening... I did notice that it takes an immense amount of prodding to break Max out of a certain groove (even here)--he doesn't "follow" the sax like, say, Rashied Ali does on Interstellar Space. Regardless, I think the two play emphatically enough to prevent this one from sounding like a "staid"/cold duo album.

I just got a copy of Max Roach/Anthony Braxton: Birth and Rebirth. It's just stunning. I'd never before heard this duo in action, but I've always been a fan of both... the fascinating thing is that neither sacrifices his personal idiosyncrasies--there's no real compromise. Braxton is as ferocious as ever, and Roach swings with his inimitable fury. There are moments of power, promise, rage, and tenderness--all consummately performed. I have some gripes with the sound (CD)--Braxton sounds a little metallic at times, and Roach is occasionally distant. But the music is just beautiful, top drawer as far as sax/drum duos go.

Billy Harper: Somalia Lester Bowie: American Gumbo (Fast Last!/Rope-A-Dope) Chico Freeman: Still Sensitive Denis Charles IVtet: Captain of the Deep Max Roach feat. Anthony Braxton: Birth and Rebirth

That's about as cheap as it gets for new copies. Used copies usually run between $9.99 and $11.99--I guess they haven't inflated yet. Most shops think they're out of print, though.

I've got another one (maybe brought up before, but I'm too de-energized to sift through the thread): Sirone

Yeah, check those old Jack Bruce albums, especially "Songs for a Tailor" and "Things We Like"--Bruce was all over the British jazz scene, Spedding included. John Marshall is bad. More Spedding (with associated British jazzers) can be found on the two original Battered Ornaments albums--good stuff.

Charlie Haden showed up on 'Ramshackle', the last track on Beck Hansen's "Odelay" album... and this may not count, but most Dust Brothers productions are pretty liberal with the jazz samples (and not just Pretty Purdie).

Word.

*sigh* Another doomed illegitimate release, then. Regardless, I'm steering clear of buying any boots... which isn't to say that the music isn't worthwhile. One of these days, I guess.

1969? Whoa--hold the phone. I've heard some of these sessions, and the playing is excellent... but have these concerts finally received some decent mastering?

Amoeba stole Aron's used album flow. First went to Aron's a couple of years ago, after Amoeba had opened--practically nothing, although they have a fine "new" section. I almost hesitate to say this--because it's been my trove since high school--but there's a fine little joint called CD Trader somewhere down Ventura Blvd. (in the SF Valley). Cheap prices, obscure selection. Just don't steal my OOPs. Please.

Eh, they'll also be at Yoshi's. I'll probably go check them out, although at this point I'm almost running on nostalgia. Haven't been truly "invigorated" by a lot of Haden's recent work, although I'll always be a fan of his playing. Nice to see a new LMO, even if some of the old stalwarts are missing.

Damn, I already have Smokestack. Oh well, guess other folks get a chance to hear it (although I do think that it's one of Hill's weaker sessions, if you could even call a Hill BN "weak"). And Workout--long time comin'. Still, I hope that the RVGs dig a little deeper into the late-60's next time. A lot of that stuff is prime material--and unavailable for some time. I still want a decent (cheap) master of Total Eclipse.

If you see him, you have crossed over to the other side. Ha! All due respect, of course. Great read.

I have no idea about the initial reception, but I have listened to the album a number of times. It's easily one of the more "accessible" Taylor dates of recent years--if CT is accessible at all. I think it has something to do with the brevity of the tracks, because the playing (itself) is as dense as ever. I don't particularly think that the short format does Taylor too much good--he's always at his best when he gets a chance to stretch out--but it's certainly nice to hear him in this context (which is about as easy as it gets past the Candid sides). On another note--if this album was meant to be a commercial breakthough, then it really didn't do a very good job. I'd say that the RVG of "Conquistador" did more to endear him to the (adventurous) public.

From my experience, most people react to Braxton's "song titles" in the same manner. The real issue (for me, anyway) is that there is most certainly an underlying meaning to his symbols/numbers/etc.--so there's no real question of "depth" or "effort" on Braxton's part. Either he's pure jive or fairly unfathomable--I, for one, enjoy his intellectual rigor. That semblance of meaning is enough to provoke a reaction from this listener. But if Braxton's symobls aren't quite as meaningful to me, do they matter at all? If I dig Braxton now, wouldn't I probably enjoy him regardless? I, too, take joy in the whole song title thing--it's an art unto itself, a remarkably simple means of invoking deep concepts. As far as true "relevance" to the music (itself), however, I'm often left wondering. A lot of late period Coltrane, for example (what we have on record), was named posthumously. Ornette has been known to rename his compositions constantly. Red Planet and Miles' Mode are (basically) the same tune--does the title matter at all? To get back to the central topic--anyone going to get the LPs?

What about Braxton, whose compositions are characteristically well-formed but whose titles are almost uniformly incomprehensible (to the layperson)?

I have that MJT album... nothing mind-blowing, but effective for what it is. Always nice to hear some quality hard bop--some interesting harmonic things going on here and there.