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B. Clugston
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From the Dowtown Music Gallery newsletter:
WOLF EYES & ANTHONY BRAXTON - Black Vomit: Live May 21st 2005 at 22nd
Victoriaville New Musique Actuel Festival (Victo 99; Canada) The third day
at Victo 2005 was mostly curated by our pal Thurston Moore and featured a
number of noise/improv bands that might not have ever played without his
push. Thurston's first pick was a not-so-average trio consisting of cheap
electronics, electric guitar and drums who met at school in Kentucky called
the Hair Police. Although nothing quite prepared us for the second set by
Wolf Eyes. There was a rumor that Mr. Anthony Braxton was going to "sit in"
with some noise band called Wolf Eyes, but I don't think anyone took that
comment seriously. Word is that he had heard them at a festival in
Scandinavia and was floored by their performance. Very strange indeed. When
this young, punky noise trio came out and told us that Mr. Braxton would be
playing with them ... and then there he was, with his alto, soprano, and
sopranino saxes! Shock! And pleasantly intriged surprise! Wolf Eyes is an
odd trio of homemade electronics [Nathan Young], electric guitar [Mike
Connely] and sax/more electronics [John Olson]. Olson, he of the big shaved
head, was also their spokesman: very funny and quite astute. They started
with all three members playing some scary processed cymbals as Braxton
played some quieter sopranino on top. The trio moved through bowing and
scraping metal, intense guitar feedback and growling electronic
noise-scapes. It reminded me of Organum at times, just not as accomplished.
They ended in a frenzy of pounding noise with screaming vocals that was
almost too much. For their encore, they offered Mr. Braxton of playing some
other hilariously titled number, or their hit "Black Vomit", and he said,
"of course"! It was a tribal, throbbing epic of slow noise that grinded,
growled and groaned until it hit its stride and exploded with Braxton
squealing sax riding on the waves. Not what anyone would have expected, but
it worked and showed how barriers occasionally disappear up at Victo. Wotta
show! CD $15
I'm looking forward to hearing this. The Duo with Fred Frith and the Sextet recording from the same festival were very good.
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Found a track listing at:
http://www.vervemusicgroup.com/product.asp...c=prd&pid=11525
Disc 1
1. Where Flamingos Fly
2. Stolen Moments
3. Greensleeves
4. Alamode
5. Honeysuckle Rose
6. Trey Of Hearts
7. Samba Para Bean
8. Too Young To Go Steady
9. Snap Crackle
10. Chocolate Shake
11. Impressions
12. Theme For Lester Young
Disc 2
1. My One And Only Love
2. Salt And Pepper
3. Forest Flower
4. T'NA Blues
5. Someone to Watch Over Me
6. Sister Mamie
7. A Love Supreme Part I: Acknowledgement
8. Rapid Shave
9. Los Olvidados
10. Ask Me Now!
Disc 3
1. Black And Tan Fantasy
2. Alfie's Theme
3. Spanish Rice
4. Mama Too Tight
5. Gypsy Queen
6. Larry Of Arabia
7. Our Prayer
8. Offering
9. Journey In Satchidananda
10. War Orphans
Disc 4
1. Stolen Moments
2. The Creator Has A Master Plan
3. India
4. The Rich (And The Poor)
5. Hard Work
6. Walk With Me
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amazon is showing a 6/6 release date for what appears to be a box set entitled "The House That Trane Built: The Impulse Records Story." Does anyone know anything about this?
It's a best-of label compilation which is presumably a spin-off of Ashley Kahn's book of the same name, or vice-versa.
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But where's "Resolution"?
Are you thinking of the recording from France in 1965 (included on the recent deluxe Love Supreme Impulse release)? As far as I know, that is the only known live recording of Resolution. It is often not easy to tell what key Coltrane is playing in on that recording.
Perhaps that Resolution was from another night at the Showboat?
I think Lon must be right. There's definitely a recording of "Resolution" from the Showboat in 1963. It's been documented that the piece was first played there, and that it was in a different key.
And like I said, I know it exists, because somebody (an old acquaintance who's a CRUEL fucker
) played it for me over the phone one time. ONE time! And no, he wasn't about to send me a copy.It exists, trust me.
If this is an Andorran production, it's also possible one of the tracks is mistitled.
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Bill Shoemaker reviews the Ictus box in the latest Point of Departure:
Imagine you have lost your main source of income, a bad shoulder prevents you from finding new work, and an earthquake has destroyed your home. In the face of all this, starting a record label devoted to improvised music would be, to put it mildly, counter intuitive. However, Italian percussionist Andrea Centazzo did just that in 1976, creating Ictus, “the creative label for creative music.” Within a half dozen years, Ictus became one of the bolder artist-operated labels in a halcyon era for such enterprises. Early Ictus LPs found Centazzo performing in Italy with established figures like Derek Bailey, Alvin Curran, Steve Lacy and Evan Parker. Centazzo also ventured to the US as early as ‘78, showing remarkable prescience by recording with a wide swath of emerging artists including Eugene Chadbourne, Rova Saxophone Quartet and John Zorn....
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B. Clugston — where does your avatar come from? Any way we can see an enlarged version?
I think it's interesting that, this time around, Werner decided to put Clifford Thornton's name on the cover of the package. Poor Byron Morris — he was there too!
I rather liked the original cover ...
but I'm not going to complain ... the music's out again!
The avatar is a bizarre cover of a French 45 single of Ayler's New Generation/Heart Love. You can find a big version here on this excellent Ayler site: http://www.ayler.org/albert/html/newgen.html.
Speaking of covers, I'm with you on the original McPhee cover. With the exception of that brief phase of oddly cropped photos and split-sentenced type, I much prefer the look of the old hatArt 6000s. But if it's getting reissued, I can't complain...
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Anyone picked this one up yet? How is it?
I'm slobbering to get it.
I got this the first time around. Some nice moments, particularly "The Looking Glass," but overall I have never been overally excited about this one. Always nice to hear Clifford Thornton. If you are a fan of this period, go for it, but those new to McPhee should start elsewhere. Sound isn't great, but it's acceptable.
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This is one thing I was thinking of, although not sure where that Miles' Mode is!
The rehearsal extract is of "Miles Mode."
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Bring this up for air. Anyone have any thoughts on this set now that it's out? Sound quality? Booklet? Thinking of getting this soon (CD Universe, of course!).
on the edit: Is this box set legit? I saw it a Tower Records in Seattle recently.
Pass. Sounds like the Abraxas, which ain't legit. From what I understand, it's just four CDs crammed into a box, nothing special and nothing extra. There were rumours of a real ESP box set at some point.
ESP has been slowly reissuing its catalogue in better sound, some with extras (though Spiritual Unity is without the bonus track).
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Edward Vesala's Ode to the Death of Jazz. Heck, all of Vesala's ECM discs are worth a listen.
The Giuffre reissue and Holland's Conference of the Birds are also big favourites.
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Big thumbs up to Ned Rothenberg’s Solo Works-The Lumina Recordings, which was recently released on Tzadik.
Other than Braxton’s Creative Orchestra tour of ’78 and a stray track from a Robert Dick album, I hadn’t heard Rothenberg before. This is great stuff. As far as solo works go, Rothenberg is closer to the Evan Parker side of the spectrum. He uses overdubbing to create long, fascinating pieces that recall electronics as much as the saxophone. My favourites so far are the two tracks from his first LP, “Trials of the Argo” and “Continuo after the Inuit.” There’s also duets with Gerry Hemingway and John Zorn, plus workouts on ocarina and bass clarinet.
Great booklet with notes by Rothenberg himself.
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"Cornbread" is essential if only for its inclusion of my all-time favorite Morgan tune, "Ceora". The first few notes of Herbie's piano break are as close as I've gotten to a religious experience when it comes to jazz.
Up over and out.
Lee's solo on the first version on Not Live at the Lighthouse (the one that doesn't have the drunks hollerin') is one of my favourites.
How's the sound on Cornbread? Good or wait for the RVG that is undoubtedly coming at some point?
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The Sidewinder is my favourite, but The Gigolo joins Search for the New Land in my top 3.
Runners up would be The Procrastinator and the Live at the Lighthouse that wasn't recorded at the Lighthouse. (Never heard Cornbread, though.)
"Yes I Can, No You Can't" is quickly becoming my favourite of "The Sidewinder" descendants.
Btw... The back cover of the RVG credits "The Gigolo" to Jules Styne and Sammy Cahn! Handcock, "The Groits," "retouched cover on the way" and now this. Where's the quality control?
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Milo Fine recently did a duet recording with Anthony Braxton on Emanem. Haven't heard it.
Considering my previous experiences (and mail) with Mr. Fine, I find this really funny. He savaged a couple of my lps in Cadence for "formalism" and then sent me audition tapes asking me to forget about the "rips" 'cause he really respected me and wanted to be on the label. NOW he's recording with Braxton!
You should ask him for a review copy.
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Turning to Dark Magus: Does anyone know if there's the same amount of music on the Japanese versions compared to the 1997 Legacy-edition? I would also like to know if there's a difference in the sound-quality?
I have a pre-Legacy Japanese version. It sounds terrible (Gaumont wanders between channels) and there is no extra music. Disc 2 of Dark Magus has a missing chunk. I haven't heard of any edition that has restored the missing section.
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Today I picked up Walter Zuber Armstrong – Live at Walker Art Center. This is mostly a solo album, except for one track where he does a duet with Milo Fine on Drums. I had never heard of either of these guys before today, but I’m really liking what I hear, especially the bass clarinet work.
As a general rule I like the music of smaller groups, when things get to cacophonous I just can’t stay with it. Any suggestions of what I should look for next from either of these fine gentleman.
Thanks in advance.
Bill
I met Armstrong some 15 years ago when he used to busk playing bamboo flute at the public market. He also gave lessons. Somewhere I have a short video clip of him that I filmed. He was quite active in the Pacific Northwest for some time. I believe he died in 1998 in Bellingham.
He did a nice recording with Steve Lacy called Alter Egos that came out on CD. He released several recordings on his own label, but I haven't heard those.
Milo Fine recently did a duet recording with Anthony Braxton on Emanem. Haven't heard it.
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I see so many posts about people complaining about import labels.They seem to have such a great selection of very rare recordings.Can someone please explain?
Lonehill is pretty dishonest at times, too. Albert Ayler's Complete Live at Slug's Saloon is a good 16+ minutes from being "complete," while the bootleg of a bootleg Eric Dolphy Quartet Featuring Lalo Schifrin is remarkable for the fact that Schifrin isn't on it.
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I wonder if he still plays trombone? He's solid on The Magic of Ju-Ju and that Bob Pozar record.
Didn't he play french horn on Birth of the Cool?
Zwerin played trombone on the nonet's live dates.
My favourite date of his is an album of Kurt Weill songs he did in the 1960s. Eric Dolphy appeared on one side.
He's always a good read.
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McDonalds will be to the 00s what smoking was to the 90s.
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I have the Japanese 'Agartha'; 'Mayisha' comes to a proper end- as opposed to the fade on all other versions- and the final few minutes of disc 2 have some additional feedback/ bleeps/ rattling percussion. A few minutes extra in total although if you don't have them I wouldn't lose any sleep unless you're a real Miles nut.
That said, I do prefer the mix on the Japanese version.
Anyone got the Japanese 'Pangaea'?
I have the Japanese Pangaea. Like the Japanese Aghatha the sound is much better than on the Columbia-versions. That said, I can't compare them to the original LP's.
Any extra music on the Japanese edition?
According to the Miles Ahead site, there are just over two extra minutes of Mtume and Cosey at the end of Godwana ("For Dave") on the last Japanese issue.
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Sad news. He was an incredible player who was outstanding in a variety of settings, whether it be rock, jazz or improv.
I'm sure you all know Reginald Dwight took his first name from Elton Dean and his last from Long John Baldry, who also sadly died last summer.
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Sort of a reissue, but Wounded Bird has just released the Don Ellis Octet’s Pieces of Eight.
It’s a one-shot date by an octet from a 1967 concert at UCLA. Parts of this date were sold by Ellis as tapes and 8-tracks (as Don Ellis LIVE!) at concerts.
The octet is pretty rhythm section heavy--Ellis, Tom Scott and Dave Mackay are the only horns.
The sound isn’t great. Interesting gig, but I much prefer the big band music from this period.
http://www.woundedbird.com/ellis/6000.htm
Thanks for pointing this out - this is extremely rare stuff and indispensable for an Ellis nut like me.
Dave MacKay is a pianist, BTW.
Er... make that Dave Wells.
Should also mention that Don brings out the echoplex for one track and there are neat covers of "Milestones" and Arif Mardin's "Turk's Works."
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Sort of a reissue, but Wounded Bird has just released the Don Ellis Octet’s Pieces of Eight.
It’s a one-shot date by an octet from a 1967 concert at UCLA. Parts of this date were sold by Ellis as tapes and 8-tracks (as Don Ellis LIVE!) at concerts.
The octet is pretty rhythm section heavy--Ellis, Tom Scott and Dave Mackay are the only horns.
The sound isn’t great. Interesting gig, but I much prefer the big band music from this period.
http://www.woundedbird.com/ellis/6000.htm
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Depends who you ask. A lot of the song titles from this period didn't have names.
On Disc 2, Track 1 is "Theme from Jack Johnson" or "Right Off" if you prefer. Towards the end, it becomes "Ife," which continues onto Track 2 until "'For Dave" comes along.
On Disc 1, the track timings for the Preludes aren't correct. The first prelude is often called "Funk" while the second tends to go by "Agharta Prelude."
For Pangaea, Disc 1 is "Turnaroundphrase/Tune in 5/Turnaroundphrase", followed by "Zimbabwe," which is Track 2.
Disc 2 is "Ife" and "For Dave."
Some discographers name some of the songs after the titles on Dark Magus, which are Swahili for 1-4, but to me that's like calling a song "Side One."
I don't have the original albums, or the Japanese issues, which apparently have more music (about 10 minutes so in the case of Agharta), so I can't comment on the sound of the Legacies, other than to say it's time these were remastered.
So Agharta Disc 2 Track 1 is "Right Off" , and Track 2 is "For Dave" ?
How about Agharta Disc 1 ? Is it really "Prelude 1" and "Prelude 2" or did someone just not know the tunes' names ?
Finally it is worth it to get the remastered CDs ?
Something to look forward to
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