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B. Clugston
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Posts posted by B. Clugston
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A lemon wedge with hefeweizen is acceptable, but I'm not big on chunks of citrus in my suds. What I really hate is places that serve English-style cider (such as Strongbow) with ice and lemon or lime like it was some fruit cooler. I always send it back and tell him to pour me another one.
Also, Unibroue in Quebec makes a delicous fruit-flavoured beer on lees called Ephemere. Depend on the season, you get cranberry, apple (the best) or others.
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Also by not using original covers, Mosaic saves money on colour printing costs.
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You'll simply never convince me that a sport that allows its most serious games to be decided by PKs is a sport worth following. Not that anyone cares...
I agree. Instead of going to penalty kicks they should switch to overtime 'sudden death' like they do in hockey.
Soccer played at the highest level is a great sport, but it's not without some serious, systemic problems. Inconsistent to downright shoddy refereeing, penalty kicks, shootouts, diving etc. Hockey realized that they had some of the same kind of problems before last season and with the impetus provided by one of their own, ex- Red Wing, now Ranger Brendon Shanahan, went to the mattresses and reinvented itself. Is soccer so tied to tradition that it considers itself above some serious, introspective self-evaluation? One would hope not.
Up over and out.
One idea where soccer could learn from hockey is in calling diving penalties. Last season, the ref's arm would go up after a falling player would do a Swan Lake manouevre on the way down. Said player would get up only to learn he was the one getting the penalty. It has really improved the game. Sometimes both the tripper and the diver get called.
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You'll simply never convince me that a sport that allows its most serious games to be decided by PKs is a sport worth following. Not that anyone cares...
I agree. Instead of going to penalty kicks they should switch to overtime 'sudden death' like they do in hockey.
I don't like penalty kicks deciding a game, either. But with sudden death, the game could still end on a successful penalty kick.
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The one session I haven't seen yet is the music that became Travellin' Light, with Jim Atlas on bass instead of Bob Brookmeyer.
Trav'lin' Light, Atlantic 1282 is Giuffre, Hall and Brookmeyer ~ no Atlas.
I believe the Original Trio release has some Atlas tracks. I have about 95% vinyl, so I don't really pay attention to cd re-issues.
He cut the same tunes with Atlas and Hall shortly before re-recording them for the album with Hall and Brookmeyer. Two were on the Atlantic CD reissue of The Jimmy Giuffre Trio, the whole shebang is on Mosaic.
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There's still a lot of Verve recordings out of print, such as Ad Lib, Seven Pieces and the Jimmy Giuffre Quartet in Person. Don't know if they've ever been released on CD. Lonehill or someone will soon take care of that.
For those who missed out on the Mosaic set, almost all of the music is now available one way (Collectables) or the other (from the Andorran hills). The one session I haven't seen yet is the music that became Travellin' Light, with Jim Atlas on bass instead of Bob Brookmeyer.
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I was not aware of the Talks and Plays (I am assuming this is the same as "Riverstation") untill last night, I will have to add that to my wish list.
I am also trying to find the my ultimate copy of The Jimmy Giuffre Clarinet. I have two copies of the the original black label Atlantic and even a copy of the jazzlore edition. It is just one of those recordings that the little pops and clicks start to bug me. I have read that the Collectables Jazz Classics CD may not really be an improvement. The japanese pressings I have are fantastic, but I have never seen a japanese pressing of the Clarinet lp.
Trav'lin Light is now spinning with The Three & The Two next in line.
Talks and Plays is the same label as River Station, but a different album. It's not a great release, but worth having if you are a completist like me.
As I write this, "So Low" just started playing on the iTunes party shuffle.
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A rare example of a Lonehill release that actually is complete. Funny they didn't say complete in the title.
There's also a couple of extra tracks on the Lonehill from other concerts.
The fact Verve only reissued the tracks on the original album is not a good sign.
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Giuffre has not been doing well health-wise for quite some time. This article is from 2003: http://www.allaboutjazz.com/php/article.php?id=901
Western Suite is an incredible album. The Jimmy Giuffre 3 even more so. Then he went on to record the great Fusion and Thesis. It's amazing to chart his progress from the quiet clarinet and foot-tapping of the Jimmy Giuffre Clarinet to going off the deep end in Free Fall.
It is a shame he went un-recorded for so many years. I find his post-1960s recordings enjoyable, though not as great as the four mentioned above.
In regards to info on Giuffre, CELP released a Talks and Plays 2-CD set a few years back with 1 disc of Giuffre's recollections and another of solos and duos with Andre Jaume.
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Myself When I am Real, Gene Santoro's biography of Charles Mingus.
Anyone else read this? It felt very disjointed. Santoro keeps repeating certain phrases, such as "Mingus was feeling the Zeitgeist." He obsessively and tiresomely lists exact amounts that Mingus was paid or that he paid for things, interesting in some cases, but enough already.
Mingus is so fascinating that the book was worthwhile for that alone and for the quotes from contemporaries (I'd rather have read a compilation of the interviews, really).
Also, some things in the book were just plain wrong. "Chateau Neuf du Pape" for "Chateaneuf-du-Pape" could be an editor's mistake. But to assert that cumbia is to Columbia as bossa nova is to Brazil is just plain wrong. Shouldn't he have compared it to the samba rather than bossa nova?
Oh well. Has anyone read Brian Priestley's Mingus book? It looks like it has a lot more about the music in it, which Santoro was surprisingly light on.
Is Santoro's book the one that is full of errors? Like the description of Mingus at Monterey where he gets the personnel really wrong and describes solos by musicians who do not even appear on the album.
nr: The Count of Monte Cristo, Dumas
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I suspect there was WAAY more recorded than is on the LP - it was an NDR broadcast, after all!
Wasn't this an FMP CD at some point? I have an old FMP CD catalog that lists it as "forthcoming."
Not a bad record, but no Berlin Djungle!
If it's Alarm you are referring to, this is from the Atavistic site:
"The story is simple. We were touring with this band, and the reason I could put the band together in the first place was a radio gig in Hamburg. Michael Naura, chief of the jazz dept there, was setting up a series of on-air concerts in a 200-seat studio, so we performed the first piece, which I called "Alarm." I used the graphic instructions for a reaction to a nuclear emergency, a series of waves and straight tones, repeated in a certain way.
We had planned two more pieces, one by Willem Breuker and one by Frank Wright. My piece took about 40 minutes, the first half of the concert. At the end of the performance, Naura came to me – while we were still on the air – and whispered that the house got a bomb threat and had to be evacuated. So I had to bring the piece quickly to and end and the audience was asked to leave the hall. We also had to pack and leave. Police and special forces showed up with all kinds of equipment, gear, dogs – we know all that better now than then.
That was the end of the concert and that’s the 40 minutes we have on tape. -Peter Brötzmann, Chicago, October 2005
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I checked the book included with Holy Ghost and it didn't have much on her, just that she's always been active in church music and continues to sing and gives lessons. It doesn't say where. Reading between the lines in the book, it implies she exerted a lot of influence on Ayler.
She has kept a low profile since Ayler died. Other than the article by Mike Hames, you see few references from her. There's a little bit more info on her in Val Wilmer's book. I've never heard anything about Parks changing her story regarding Ayler's death, which she said was a suicide.
A couple of recent releases shed new light on her contributions to Ayler's music. Some have blamed her influence for the debacle that became New Grass, but it now appears some of her lyrics were changed and she may not even be on it. The demos on Holy Ghost are far superior to New Grass.
The Live on the Riviera release on ESP last year also has examples of her sax playing.
Besides "Music is the Healing Force of the Universe," I'm not a big fan of her contributions to the final session.
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she composed ALL the music on this:
She got the songwriting credits on The Last Album for some copyright reason I can't remember, but I believe on Music is the Healing Force of the Universe and The Last Album Ayler wrote most of the music and Parks wrote the lyrics. Henry Vestine got a few songwriting credits on the tracks he appeared on.
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Is there another title to the song they call Tutti? (1st cut on disc 2.) It's very familiar to me and I think I've got a performance of it on another cd. But I don't see that title on any of my cds and I haven't taken to the time yet to listen to every cut on 10 cds.
It's in the same 'family' of Ornette tunes that includes 'Theme from a Symphony' (i.e., 'The Good Life' from Skies of America), 'Dancing in Your Head,' and 'School Work.' It always varies somewhat, but the common thread is that insistent eight-note, diatonic line at the beginning (repeated ad infinitum--Ornette seems pretty loose with it). It's probably his trademark theme.
Ornette got a lot of mileage of that ditty, but the version on the Italian boot ("Tutti") is spectacular. Too bad about the awful sound.
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There is some information about her in the book included in the Holy Ghost box. (I don't have it in front of me.) If I recall correctly, she continued to perform and is still with us. There are photos of her in Holy Ghost. I think there's a picture of her on one of the later Impulse releases.
I don't believe they were married.
In regards to Ayler's death, this is from Albert Ayler: His Life and Music by Jeff Schwartz:
http://www.geocities.com/jeff_l_schwartz/chpt6.html
The cause of Ayler's death remained a mystery until 1983, when Mary Parks, tired of the rumors, shared her knowledge with English discographer Mike Hames.
Mike Hames: The strains of surviving as a musician in New York seriously affected the mind of Albert's brother, Donald. Their mother blamed Albert for introducing Donald to the musician's life. She and Donald continuously pressed Albert to look after Donald. Albert helped in several ways, but he did not want Donald to live with him or play with him. After two years of aggravation from his brother and demands and threats from his mother Albert could no longer cope. Although Donald was finally receiving hospital treatment after a nervous breakdown, Albert could not be convinced by Mary that the situation would end.
Albert told Mary that his blood had to be shed to save his mother and brother. He even told her how he wanted the rights to his music to be divided after his death. She rang his father but he didn't seem to believe it. Mary's sister then tried to dissuade Albert from taking his life and he promised to think it over (Hames 27).
On the evening of November 5, Albert again told Mary, "My blood has got to be shed to save my mother and my brother." After an argument, he smashed one of his saxophones over their television and stormed out of the house. Mary called the police to report Albert missing. Albert took the ferry to the Statue of Liberty and jumped off as the boat neared Liberty Island (Hames 27).
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Watkins turns up on The Fugs classic, Golden Filth. He might even have a short solo on that one.
I've always enjoyed his work, from Monk to the Blue Notes.
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Also great to see Eric Gravatt (remember him from Weather Report?) back in the jazz scene. Man, he can still play and then some...
Gravatt can be a spectacular drummer. First time I saw him was in '70 with McCoy. The band also included Byard Lancaster and Herbie Lewis. As I mentioned before, they were burning and Cecil Taylor was jumping up and down next to the bandstand. Great night.
He worked as a prison guard for 17 years and has only recently been back in wider circulation. There's an article about him here: http://www.mattpeiken.com/Journalism/Arts%...les/gravatt.htm
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Still holding out against One Too Many...
Hey - like what you like! But for me everyone plays for too long here and is over-exposed - i.e becomes boring. In great music every event is well-defined and essential. In this concert the portentous atmosphere is everywhere - as if something mighty is always *about* to happen - but for my money everything is spun out, Shannon Jackson does not fit, the bassist is short of ideas, and the introductory duets and solos are dull - though the trumpet and sax do well in the group section, the only highlight, IMO.
Liking this record does not mean joining an inner circle, alas.
I neither love it nor dislike it. I agree the intros are dull and the whole affair goes on too long. But I like the fact Roland Shannon Jackson does not fit; some of his almost funky beats are a shocking contrast to the shitkicking the drum set usually getsat a Taylor concert. (Kind of a similar contrast to Franky Douglas' guitar on Incarnation.) And Lyons can play as long as he likes AFAIK.
Among the Hats, I like It is in the Brewing Luminous the best.
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Didn’t make the Belmondo/Lateef concert, but apparently Yusef was in fine, fine form. There may still be a photo of him up at www.vancouverjazz.com.
OrkestRova featured ROVA with the Nels Cline Singers (Cline on guitar and electronics, Devin Hoff on bass and Scott Amendola on drums), Wayne Horvitz on electronics and keyboards, Peggy Lee (no, not that one) on cello, Jesse Zubot on vioin, and Ronit Kirchman on a six or seven string electric violin.
The deal is they take Ascension and play the opening themes, jump off to a few solos before breaking into smaller improvising groups.
This was an awesome concert and I liked it better than the CD version. Hoff and Amendola brought a faster, hard-rocking pace to the piece; they were clearly enjoying themselves, really whooping it up in contrast to there more serious-looking fellow musicians. Cline’s solo on the CD seemed pretty tame to the wall of noise he was coming up. Horvitz’ electronic effects also made this version more far out than the release.
The McCoy Tyner Trio was fun too. If Tyner is slowing down in the virtuosity department, that was more than made up for by Charnett Moffett, who had several entertaining, show off solos. Also great to see Eric Gravatt (remember him from Weather Report?) back in the jazz scene. Man, he can still play and then some...
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There's a latter-day live version of "The Sidewinder" on Fresh Sounds where Billy Harper considerably raises the ante.
That's a nice version, though incomplete, IIRC. Love Freddie Waits' drumming on that one.
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r u nuts what about Yusef Lateef. isnt he comming. i would totally go see it if i could get into the damn province
Lateef is playing with the Belmondo Brothers Quintet on June 27. That will be worth seeing as well.
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Vancouver International Jazz Festival starts tomorrow. http://www.coastaljazz.ca/index.cfm?page_id=3
I'm going to see the McCoy Tyner Trio on Saturday and OrkestRova and Lori Freedman on Sunday.
Diverse line-up, as per usual, including Bobby Hutcherson, Elvis Costello and Allen Toussaint, Jim Black, Nils Petter Molvaer, plus the ubiquitous Marilyn Crispell and Mats Gustafson.
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I'm looking forward to getting this.
If you like this music, don't hesitate on the Ogun box, which is getting harder to find. The Isipingo and In Conference are classics. The solo record is good as well. The duo with Malfatti has never really registered with me.
The Isingo line-up in the Ogun box is Harry Miller, bass; Marc Charig, trumpet; Mike Osborne, alto saxophone; Malcolm Griffiths, trombone; Keith Tippett, piano; Louis Moholo, drums.
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I love this album. My favourite Morgan. One of my favourite jazz albums of all time. I love Lee's solo on "Totem Pole." The title track's popularity overshadows a fine set of compostions elsewhere on the album.
The Fruit in your Beer Poll
in Miscellaneous - Non-Political
Posted
It's a North American thing. I've heard the odd German will tart up a kristallweizen with lemon. I never put lemon in German-made hefeweizen, but it goes well with the local knock-offs.