Steve Reynolds

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About Steve Reynolds

  • Rank
    Funkateer
  • Birthday 04/25/1960

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  • Gender Male
  • Location Wayne, NJ
  • Interests music of all sorts that gets my heart pumping, live improvisational music, Car auctions on TV, Red Sox & Patriots

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  1. Vandermark box set drought finally over

    Always seems to be a problem getting Kessler heard in the mix with the trio. Probably with the 2 horns often playing at one time it’s more of an issue. Plus KV is an upfront forceful player so I thinks that’s just part of the trio’s sound. I’m probably near a revisit of the box - I think I’ll pick 2 discs/shows randomly and leave it at that for a bit. Might not work for my current ears so well as I’ve been most interested in the oblique and non-groove side of improvised music over the past few months. Lots of guitar/electronics etc. I’ve been listening to a whole slew of great releases on Relative Pitch as well as streaming all kinds of stuff I don’t have on disc - from Fred Frith to Zeena Parkins to Henry Kaiser to musicians I’ve never heard before.
  2. Vandermark box set drought finally over

    I tend to agree with that. As David mentioned, there is something a bit odd about the mix. Maybe it needs a bit more air / not sure.
  3. Vandermark box set drought finally over

    Missed it on the 36 minute disc 6. KV in a trio with both Prevost & Drake sounds like it might be very good. fwiw I’m in between on KV’s playing. I find his clarinet playing sub-par and he’s hit or miss on tenor. I’ve always liked his riff-based playing. As far as intricate dynamics within his free playing it pales in comparison to someone like John Butcher. I’m interested to hear how he holds up in a duo with the amazing Nate Wooley and I’m especially curious (maybe in a viewing of a car crash) to hear him alone with the aforementioned Butcher. Butcher in my view is one of the best 3 or 4 improvising saxophonists on the planet - especially in small formations improvs. I like his riffing on baritone saxophone. I’m hoping he brought his baritone sax to Kraków.
  4. Vandermark box set drought finally over

    Hamid Drake listed as one of the musicians but NOT listed as a musician on any of the individual discs.
  5. Jazz musicians that started their own labels.

    Assif Tsahar: Hopscotch Records Gerry Hemingway: Auricle Records
  6. Modern/Avant New Releases: A running thread

    Code Read with Dresser & Hemingway is on the streaming services. It is spectacular IMO.
  7. Jazz musicians that started their own labels.

    Dave Rempis: Aerophonic Records
  8. Modern/Avant New Releases: A running thread

    I listened through once on Tidal and it is soft and almost all of that slow tempo that sometimes can be very powerful. I’m not sure they captured the dynamics that Mat & Randy exhibit in a live performance. The set they played included most of this music but some of it seemed to explode in volume and in tempo. Lucien’s pristine sound and touch is captured very well on the recording. I do wish they put some freely improvised intense passages/pieces on the recording. For me that is what elevated the set/show to the typical high level of performance that I expect from any ensemble with Mat. I also recently saw Mat Maneri with a Matt Mitchell Ensemble where he played parts of very challenging intricately composed music as well as some mind-bending improvised sections. The band also included Ben Gerstein & Brandon Seabrook along with Mitchell & Kate Gentile. It was a fine but not transcendent set. It almost hit the perfect balance between composed & improvised but the structures were unique & creative but did not give the musicians enough room to truly explode the music. Then I saw Mat in a trio with Assif Tsahar & Ches Smith. An hour of totally improvised music with Mat playing at his highest level. Using a bass pedal, regular pedal, and no pedal, his mprovising was jaw-dropping. Stunning. As good as this music gets, IMO. Hopefully if this was recorded well, Assif will get this released somehow. After Randy, Ches is the best drummer with Mat for this sort of thing.
  9. Modern/Avant New Releases: A running thread

    Saw the quartet live this past fall and they were wonderful. More subdued than some of Mat’s bands but this one is a unique special group. Randy Peterson remains just about my favorite drummer and his interplay with Mat is priceless. Fwiw Mat has played only viola for over 10 years now. He varies the pedals he uses and sometimes plays without a pick-up when he plays duets with Evan Parker, Joelle Leandre, Matt Shipp, Lucien Ban or others.
  10. David S. Ware, Theatre Garonne 2008

    If you think Shipp & Parker are boring, I’ve been of that mindset off and on for 20+ years as well. I’ve also seen/heard Parker more recently where he has played better than I’ve ever heard him before. He was fantastic at the concert @ Shapeshifter Labs in 2017 with Rob Brown, Cooper-Moore & Hamid Drake. Same goes for Shipp. He was great with Evan Parker & Paul Lytton this spring @ Roulette and in a short duet with Mat Maneri a few weeks back his playing was transcendent. I’ve ALSO heard Shipp (most egregiously for me in 2012 with a quartet with Paul Dunmall on tenor saxophone, Joe Morris on double bass & Gerald Cleaver on drums) when he never relents and never gives the music any space rendering most of all of his notes/playing superfluous. At that concert it stifled Dunmall until the last 10 or 15 minutes when he finally gave the music the space it needed for the great tenor saxophonist to express himself successfully. Also it might be noted that these days (and for at least 10 or 15 years now), this sort of modern day “Fire Music” is far from my musical core interest and to my ears there are many more attractive and more creative improvising musicians doing/playing more exciting brands of free jazz/freely improvised music of all sorts than this “wing” or “strain” of the modern forms of improvised music.
  11. David S. Ware, Theatre Garonne 2008

    I’ve had a love/like/hate/ambivalent relationship with David S Ware over the past 20+ years. I saw him with the “famous” quartet with Susie Ibarra in the drummer's chair - with Shipp & Parker filling out the quartet. I also saw him with an “extended” band after Susie left with Guillermo Brown as the drummer with a trombonist that I’ve never been able to figure out a name for. I think that second show was probably 2000 or so. First show was at one of the poorer venues for Vision Fest and the sound was awful. For whatever reason while Ware was blowing like a MF’er, I could hear mostly Shipp, Parker & Ibarra. The next show was hindered by sub-optimal drumming. Both shows and many recordings lessened in impact by too much Shipp. Dude always played WAY too much. He’s become a bit more restrained in recent years but not back 15-20 years ago. Ware also plays too long and too much. BUT he had a huge sound, big heart and nobody has ever played the upper register like the Big Man did. So sad that he wasn’t able to take the stage for Vision Fest in June 2012 due to his declining health. It was a huge downer that night that we didn’t get to hear his group with Cooper-Moore.
  12. Aerosmith - Honkin on Bobo

    I’m about the same age as Kevin and from Quincy and then moved south shore Abington when I was 12. Class of 78, “everyone” was into rock with Aerosmith, Kiss, The Who, Sabbath, Floyd & especially Zeppelin being the biggest names. Then the Cars & Foreigner started happening and things got awful. I was only into Zeppelin & Floyd from the above and then I went more progressive with Yes, Genesis, then Gong, Crimson, Eno, Roxy, etc. only liked some Punk, post-punk 15 or 20 years later. Despised Ramones & Pistols, etc. ALL of us hated it. Bullshit musicians playing messy sloppy garbage. I still think that about most of them. Only Wire & The Clash eventually meant something to me.
  13. Recording my father and his music

    Congratulations, Clifford
  14. I’m still trying to figure out what new music he’s listening to. 1,000 albums a year but not one example of what music it is. To me Ted’s still listening via many cliches. Too much narrative and not enough individual voice. Not sure he’s been very open to the truly new & creative within improvising circles. Again if he mentioned some actual recordings or musicians that are creating the new and non-repeated that would have given the interview some worth. I do like what he says about Audio Vs Video. He’s very accurate about that.