P.L.M

Some records from FMP are now reedited on the Jazzwerstatd label. Of course, JW produced also new music (meaning produced new releases - it's to you to judge if it's "new" or not), more or less in the same spirit than FMP.

I was sitting next to him 4 years ago during a concert that Laurie Anderson gave at the "Belgie" in Hasselt (Belgium, in the flemish part of the country). He was taking pictures of his wife during the performance and joint her on stage for the last three songs of the concert. I've seen him performing twice before. In 1972, in Paris (Bataclan) with John Cale & Nico as The Velvet Underground Revival (I think a CD or a DVD of the free concert shot by French TV, have been publish some years ago). Didn't know a thing about the Velvet at the times and went to the concert because of Nico that I've heard in Philippe Garrel movie "Le lit de la vierge" ("The Virgin's Bed") with one song who stuck me at time ("The Falconer"). I enjoy the concert very much but wasn't able to say who was Lou reed from John Cale at the time. Then came "Walk On The Wild Side" and the discovering of the original records of the Velvet. I've seen him a second time in 1975 or 76 in Brussels when he was touring with a hard rock band, dressed in leather black (more or less the "Rock'n'roll Animal" look and music) with his blond hair. Didn't like much the concert because the music was playing so loud. Then I saw him a last time a year ago at the Middelheim Jazz festival in Antwerpen where he perform a set with his wife and John Zorn (he plays guitar, Laurie her violon and zorn its alto). Strange performance where Lou Reed improvise some singing at the end of the set. I think he was one of the greatest rock singer of the last half of century (far better in my view than all his follower, including Bowie, Roxy Music and all) and a man of good taste who seems to have always admire Ornette Coleman, Cecil Taylor and the modern jazz in general. Well, RIP Lou. You died a bit to young.

I have "Fusion" in a Japanese LP print from 1975 on "Immortal Jazz On Verve", manufactured by Polydor K.K. (I've also "Bird and Dizz", Sonny Rollins "Brass/Trio", Sonny Stitt "With The New Yorker" and "Personnel Appearance"). After a fast comparison between The CD version from ECM and The japanese album, they sound to my ear about the same in spite of the difference of the support (Vinyle vs CD). The ordering of the tunes are different in the LP (who, I've supposed, have follow the original ordering) : Scootin' About Jesus Maria Emphasis In The Morning Out There Cry, Want Trudgin' Used To Be Brief Hesitation Venture "Used To Be" is not on the CD and "Afternoon" is not on the LP. Is this of any interest to someone?

Does it sound better?

Hi, I'm P.L.M on board (don't comme often this days). Welle I'm interesting on the following rec.: - Miles Davis - Nefertiti, Sony DSD Mastersound SRCS-9747 (jewel case, incl. OBI) - $8 - Dave Brubeck - Jazz Impressions of Japan, Sony DSD Mastersound SRCS-9367 (jewel case, incl. OBI, faint scuffs on disc, absolutely does not affect play) - $6 I'm leaving in Belgium. Let me know.

I'm surprise, reading this topic, that nobody had prononce the names of the "spectral" school of composers who, to my hear, has change the so-call contemporary music, and particularly, the best of them, GERARD GRISEY (1946-1998). Working on the of the sound "spectrum", they (Grisey, Horatiu Radulescu, Tristan Murail, Hugues Dufourt) came out with a music in which you can hear Debussy, Bartok, Stockhausen, Scelsi and... improvised music. If you want to a make a try, start with Horatiu Radulescu: "Piano Concerto The Quest" (Radio-sinfonie-Orchester Frankfurt, Lothar Zagrosek, CPO, recorded in 1996), Gérard Grisey: "Vortex Temporum - Talea" (Ensemble Recherche, Kwamé Ryan, Accord, recorded in 1996) and "Les espaces Acoustiques" (Ensemble Court-Circuit-André Valade, Frankfurter Museum Orkester, Sylvain Cambreling, Accord, recorded in 1998) the two masterpieces of Grisey and the "Spectral music" (IMHO), Tristan Murail, "Couleur de mer - L'Attente - Treize couleurs du soleil couchant - Attracteurs étranges - La barque Mystique" (Ensemble Court-Circuit-Pierre André Valade, Accord, recorded in 1994), "Serendib - L'Esprit des dunes - désintégrations" (Ensemble Intercontemporain-David Robertson, Adès, recorded in 1996).

PM sent on: - Art Pepper: "The Village Vanguard Collection" (14 $) - Booker Ervin: "Structurally Sound" (8 $) - Michael Moore Quintet: "Rotterdam" (6 $)

DAVID S. WARE/ WILLIAM PARKER/ WARREN SMITH: ONECEPT (AUM FIDELITY LP)

He was so old, than he hides how really old he was. You can put it ten years more to be close to the truth. I've know him very well in the end of the seventies, when he spend time in Brussels and I was happy to see him again a quater of century later, again in Brussels for a concert who was brillant. A great pianist but the man was quite nevrotic and full of contradiction - he wanted to be a writer and has always feel guilty to not be one. When he was in Brussels (2008, I think) for the concert he gave at the Theâtre Marni, I present him to Noah Rosen, another nevrotic pianist full of contradictions. They was looking at each other, all the evening that follow the Borah 's performance, like cat and mouse...

I bought my first CD Player in 1989 (a Philips) and a first CD the same day. It was (and still his) Art Pepper "With Warne Marsh" (Copyrighted 1986) on Contemporary/Carrère (french print). It was a AAD CD and I've never seen it again until few years ago when it appears in japanese ed., that I bought for 26€ (+ postage) at a seller direct from Japan. After I've made comparaison between both, I've resell... the japanese (it was a 20 bits edition). The first Cd player has been following by a Nad 320, an Harman Kardon (who could reed "true" 20 bit CD and that I still own), and, for now a Marantz + a Philips DVD player for the SACD. Around 3999 CD has follow since + 42 LP exactly, most bought directly from musicians at concert.

Seen him twice, also, in 1986 in Berlin and in 1987 in Bruxelles. Both was in quartet and both was great, particularly the Berlin one.

A Great concert that I have on DVD.

Saw The Ornette Coleman's film in Cannes the same year or the next (1985/86?). A great film for the portrait Shirley Clarke has done of Ornette (she was great at that) but to little music in it, for my taste. When asking by me at the press conference why so, she answers that the film is a "portrait" not a captation of a concert, and she was certainly right from her point of view.

When I saw Mingus in the Jazz Festival of Châteauvallon in 1972, he has lost half of his band on the tour (why, that I don't know). For the concert, he had to hired Clark Terry (who was playing at the same festival) on trumpet and his son (yes, his son) was playing percussion (& Dannie Richmond drumming of course). Charles McPherson complete the line-up where Roy Brooks, the piano player had also a saw solo. Two years later I was lucky enough to seen him at Antwerpen's Middleheim Festival with the George Adams/ Don Pullen quintet. The concert was astonishing and he was recorded to be broadcast...

RIP, Sam. I was glad to have seen you one last time with the Jason Moran trio few years ago. You were one of my favorite, you know.

I've seen him (more than I heard him)at the Jazz Festival of Chateauvallon (south of France, near Toulon), in 1972; with a bunch of swedish hippies (with kids and all on stage). He sings lullaby, playing piano and flute(s) but no trumpet. But I was lucky enough to catch in Brussels (did'nt live there at that time) the Ornette Coleman double bill concert. First part with the original quartet (OC, Don Cherry, Charlie Haden, Billy Higgins), second with his electric band. Don was fantastic, few notes here and there but who made everything what it should be. Great memory. The record they have made after - or before - that tour, as good as it was, did'nt reflete the marvel I've heard that evening. Listenig to the electric band after wasn't easy. I've enjoy it better some years later.

I've seen for the first time since the seventies, RIDE LONESOME from Budd Boetticher, with Randolph Scott, James Coburn (first time on movie), Lee Van Cleef, Karen Steele, Pernell Roberts & the impredictable James Best on DVD. A Great western on par with the best of the production from Delmer Daves and Anthony Mann at that period (1959) but with a style in complete opposition with both of them.

- David S. Ware/ William Parker/ Warren Smith: Onecept (AUM064 LP) Fantastic Music, sounded particularly good on this LP who has, on the four side, two bonus tracks: Virtue (6'47) and Gnavah (9'06). Funny (or reaveling?) that three decades after the birth of CD, it's nowadays LP who brings the extra music (known as Bonus) to the completist.

The final was just BIG RIP-OFF by a "play dirty" team, help by shamefull mr Joubert. you want an opinion who is not bias (according to your term): listen to this on you tube: - http://www.youtube.com/results?search_query=Refereeing+discussion+from+The+Breakdown&aq=f About your take of the sweet mr. Richie McCaw "not intentional" incident look here (with the fist first and the knee in second to fulfill the work. As you say, you're a neutral person, isn'it? So, be the judge. We will see our much neutral you are in reality). - - Morgan Parra vs Richie McCaw's knee

Sorry all, but it was a game that the French team should have win if the refeere (spelling?), the horrible Mr. Joubert, had not choose to ignore the terrible technicals faults that the AB has done during all the second half, particularly their low minded captain, Richie McCauw, the shame of a nation, who beat badly Parra, the french kicker in the first half with his fist and knees in the same action! He should have get a red cart for this and at least a yellow one for all the fault he has done in the second half in every ruck. It's the black who has plaid UGLY and DIRTY. They win the tin can but they lost every thing else in this mascarad final. A real rip off, in front of the rest of the world. Hugh!

Ayler was one of those game-changing musicians whose influence extends beyond his instrument to an entire movement. He was a prime influence on the "energy" free jazz players. And he was, along with Cecil Taylor, one of the prime exemplars that jazz could be jazz without conventional tonality or regular pulse; as such he influenced not only young musicians like the AACM guys, but established musicians like Don Cherry, Jimmy Giuffre, and Paul Bley. But limiting it to tenor saxophonists, how about: Peter Brotzmann Pharoah Sanders Ken Vandermark David Murray Evan Parker Mats Gustafsson Charles Gayle John Gilmore and maybe even John Coltrane toward the end. Edit: Saw Jim's post just after I posted this. Sorry to disagree but there is not a inch of Ayler in Evan Parker (who came completely from Coltrane and was very quickly his own man, faster than, by example, Brötzmann). My vote, of course, goes to Albert Ayler and, for our time, to Evan Parker (John Butcher etc.) As Ayler influence, I'll add David S. Ware who is not only the heir of Rollins, Frank Wright and, also, Frank Lowe.

- AMALGAM: PRAYER FOR PEACE (NoBusiness Records) - NATE WOOLEY: TRUMPET/ AMPLIFIER (Smeraldina Rima 11)

Chopin: Andante Spianote e Grande Polacca Brillante op.2 (Arturo Benedetti Michelangeli) Scriabin: prélude opus 11 (Vesselin Stanev) Szymanowski: Masques op.34 (Michal Wesolowski) Debussy: Jeux(Alice Adler) Ravel: Miroirs (Alain Neveux) Bartok: Mikromkosmos (excerpts by Bela Bartok) Schoenberg: Suite For Piano op. 25 (Maurizio Pollini) Berg: Sonata Für Klavier (Daniel Barenboim) Webern: Variation Für Klavier Opus 27 (Charles Rosen) Boulez: Troisième Sonate (idil Biret) Ligeti: Musica Ricercata (Pierre-Laurent Aimard) Scelsi: Preludi série I-IV (Alessandra Ammara) Jean Barraqué: Sonate pour Piano (Herbert Henck) Ustvolskaya: Sonata Number 3 for Piano (Oleg Malov) Morton Feldman: Palais De Mari (Aki Takahashi) Weston: Tessellations 1 (Leo Svirsky)

Funny to read what she declares about the famous scene with the butter. Brando also accuses Bertolucci to have steal something intimate from him in "Last Tango". Aniway the scene was an absolute fake and seen with the eyes of today absolutely impossible to believe than something was happening betweeen them. I don't think that this scene has anything to do with her "mental illness". Drugs yes. But not "sex scene" in films (she has few in most of the film she has donne in her short career). I met her once when she was playing in a stupid belgian film in the eighties. She was still beautiful but completely fucked up in her head. Impossible to have any real contact with her. I think that her main problem was that she makes, after Bertolucci and Antoniono, the worst choice for her film career. But, to say the truth outside of be fresh, sexy and spontaneous, she had no real acting talent. Aniway, 58 is certainly to young to die.

Howard Riley Steve Beresford lol Coxhill Steve Potts Giuseppi Logan Byron Allen Eddie Prévost Jacques Thollot Léon Francioli Ken Carter Barry Guy Sven-Ake Johansson Kris Wanders Gerd Dudek Fred van Hove Bobby Bradford