Steve Reynolds

fwiw - is Paul Bley not in because he was born in Canada? only reason that he isn't listed, I would think. I mean Living musicians - musicians over 60 I would think makes sense Edward Kidd Jordan - born 1935 William Parker - born 1952 Marilyn Crispell - born 1947 Gerry Hemingway - born 1952 Milford Graves - born 1941 Andrew Cyrille - born 1939 Mark Dresser - born 1952 not surprised that both the *great* Fred Anderson (1929 - 2010) and the legendary Joe Maneri (1927 - 2009) were overlooked during their lifetimes

Saturday Night @ Cornelis Street Cafe: Saturday, Jun 29 - 9:00PM & 10:30PM KRIS DAVIS'S CAPRICORN CLIMBER Kris Davis, piano; Mat Maneri, viola; Ingrid Laubrock, saxophone; John Hébert, bass; Tom Rainey, drums

Ask them about Keith Rowe

Problem with it is I couldn't listen to it. Wearying to the maximum And on the right day I can listen to the 76 minute Parker, Guy, Lytton, Schlippenbach, Lovens 2 x 3 : 5 which is as intense or moreso yet Even when Evan goes on a 15 minute tear, it is very listenable. I found myself begging Irabagon to stop playing within 10 minutes. When I realized he was never going to stop, I knew he was making some sort of statement but the music as well as the messy sloppy recording almost made me throw the damn disc out my window. The ability to improvise at length on the saxophone is not for every saxophonist. To my ears it takes a lifetime to really be able to make it happen for 10 to 20 minute plus statements. My guys for that sort of thing are Evan Parker, Paul Dunmall and the late, great Fred Anderson All very different from each other yet all know how to build things and none of them would think it would be interesting to play 70 minutes straight full bird the whole time. Why anyone would is really beyond me

Is this still in print, Steve? Not sure, key it on amazon and find out

I think it makes sense to give them some time as well. In today's music, it takes longer for real talented musicians to find their way as so much has already gone on. I feel some of the same things as you do but I think they have great potential but Evans is a bit over 30 and Irabagon is only 35.

Best place to hear Peacock IMO is on "Not Two Not One" with Paul Bley and Paul Motian Recording sounds un-ECM like in that it sounds like the band must have sounded like live

I'm really trying to go see Rigby based on your comments above and a few weeks or months back, Larry It's just that I get to about 2 to 3 shows per month and I get stuck on my favorites.... Irabagon was real good with Helias and Altschul a month or so ago - and whatever showy technique and over the top hotness/shoing off that shows up on a couple of CD's I have (specifically the obnoxious Foxy)- didn't appear that night as I think platying live with Helias and Altschul, nothing he played from that standpoint was going to impress either of those two. Plus they just finished up 2 to 3 weeks on the road, and I think playing with those two must be helping the young talented saxophonist to reign it in a bit - he seems to be learning something about silence and pacing.

the guy that the neo boppers oughtta get a load of is Irabagon He can play anything their heroes play plus whatever else.

Maybe it's not just technique alone?

July 7th @ Cornelia Street Cafe: Mat Maneri with Craig Taborn and Ches Smith First time playing together for the trio Taborn was incredible in Mat's quintet a couple of years back

They would HATE "Scenes in the House of Music" No playing changes there as Evan Parker, Barry Guy and Paul Lytton just couldn't cut it playing straight ahead jazz so they formed a trio 30 something years ago that allowed them with their low technique or lack of being able to play changes skill to make headache causing or vomit inducing music under the legendary moniker of Parker-Guy-Lytton Of course Barry Guy is among the greatest bassists alive schooled in all forms music, having written many of the greatest large form Orchestra pieces in all of jazz over the past 40 years while Evan Parker is Evan Parker But many have no use for it, I understand - but the bullshit line is just that. Can I say much of what some like to constantly listen to is the always same old theme, solos, theme sleep and coma inducing tripe with musicians who haven't or won't incorporate anything outside of get ready for more of the same But the tired old adage about whether they can play changes, please That argument was over 10 to 15 years ago

I'm a big Eskelin fan but I think he's better when he plays uptempo or free or out than when he's playing ballads. Fwiw one ballad every other set is a-ok with me. More than that and I'm pining for groove and fire

Both!! But maybe not as GREAT as the Brotzmann Tentet when Drake was in the band - when the band played charts!! Then again Joe Maneri with Mat Maneri, Cecil McBee and Randy Peterson in NYC in 1998,,,,,, well u know me,,,,

I was at the October 29th, 1981 show at the Metro in Boston My recollection is that they played most of Discipline, Red and played Larks Tongues in Aspic pt II twice, the second time as an encore And No Pussyfooting played for quite some time before the show, which started later than advertised. At the time this was my favorite band in the world Fwiw I will buy the above 20 CD box as to my ears the 1973-74 band remains one of greatest bands this world has ever known

For me, I would rather hear him in a trio or quartet just as I prefer Evan Parker in a trio or quartet playing something nearer to jazz/free improvisation For improvisational music that is more abstract, I prefer to listen to Axel Doerner or Greg Kelley with some of the other musicians that specialize in smaller sounds in what is known by some as EAI or electro acoustic improvisation which for me is a much more subtle and less expressive form of improvisation. Once I became interested in that sort of thing over tem years ago it helped my ears and my mind into being more open to other aspects of listening and music. Of course it IS music, it just isn't for all listeners. My starting suggestion for the abstract in improvisation is always two discs first being AMM's Live in Allentown as it combines discernible instruments (drums and piano) with what Keith Rowe does. And it IS music. For what it is, it's actually some if the greatest music I've ever heard and this recording has Eddie Prevost in a mode during part of the 59 minute piece that comes from his jazz drumming background. And John Tilbury for what he does is one of the great pianists of his or really any other generation The other is called Schnee which really is one of the original old school EAI recordings from around 1998 which had me within a couple of spins after I stopped expecting to hear something that just wasn't there.

Highlights of Peter Evans week @ The Stone 9/14 Saturday 8 pm Peter Evans Octet PE (trumpets, compositions) Ron Stabinsky (piano, trumpet) Brandon Seabrook (guitar, banjo, electronics) Tom Blancarte (bass, euphonium) Dan Peck (tuba, amplified tuba, bass) Sam Pluta (live electronics, trombone) Jim Black (drums, electronics) Ian Antonio (percussion) One 2 hour set at 8pm. 9/15 Sunday 8 and 10 pm Rocket Science Evan Parker (saxes) Peter Evans (trumpets) Sam Pluta (live electronics) Craig Taborn (piano)

Wednesday, Jul 31 - 8:30PM PETER EVANS' Peter Evans, trumpet; John Hébert, bass; Kassa Overall, drums "Peter Evans' new Zebulon trio is an exploration of the extremely rare trumpet/bass/drums format. Named after the now-closed Brooklyn club, Evans works with the virtuosic and versatile rhythm team of John Hebert (Andrew Hill, Mary Halvorson, Fred Hersch) and Kassa Overall (Vijay Iyer, Geri Allen, Steve Coleman). The music seamlessly blends groove, loose improvisation and intricate compositions. "With this disc, Mr Evans and his trio have raised the bar even higher than usual. This is will be nearly impossible to top as far as trumpet trios are concerned. Mr. Evans is not the only player here in top form, both bassist John Hebert who takes a couple of astonishing solos, and drummer Kassa Overall are consistently flabberghasting throughout. All three musicians play with superhuman creativity."--Bruce Gallanter, Downtown Music Gallery

again during the first 10 minutes plus, I had this feeling that Kidd might never stop playing, but he did wind down his opening salvo - and although until I see a video or hear a tape of what I saw - I don't know how long these sections were - but there were 2 sections when the pianist, bassist and drummer played as a trio and it was for a good amount of time - there was a decently long section with Sclavis unaccompanied - and there was a good amount of time with the Parker and Drake together and then the Drake solo about 50 minutes in before the gorgeous elegy closing the ~70 minute set. The piano didn't sound as clear as I would like - but I think it was the pianist - same venue last year and Cooper-Moore, Eri Yamamoto, Charles Gayle and Craig Taborn came through loud and clear - and this year I was sitting in the front row right in front of the piano - maybe 15 feet away - last year I was in the enter front row - plus I think Tusque is not a very forecaful player and maybe his approach lends to a lighter sound. I would have liked to hear another pianist the same night to hear for sure.

Yeah without a doubt the most technically amazing trumpeter I've ever heard. Only saw him live a couple of times but I'm gonna go see his Zebulon Trio next month

DMG is still there Hard to get to but they have a huge selection of great music

That is what I thought might happen but my experience was quite different than yours, Larry I will say that Tusques did not engage with the rest of the band but I did think Sclavis and Jordan found some common language especially during the last two thirds of the set after a somewhat rough start. Plus despite the pianist not seemingly connecting too much, the two portions of the show with bass, drums and piano were still exciting to me as Parker and Drake were still Parker and Drake and the guy is still a pretty good pianist.

see my comments under Vision Fest June 14th wonderous set of music

I recently have been listening to a good amount of Hank Mobley and I think that for what he did/played on tenor in the hard bop idiom, he is without peer. And I think his tunes are mostly well above the norm for the 50's/60's hard bop era. but you cannot be serious not knowing if Hank Mobley has been discussed here - this is THE guy for this board. what is was bulit on - don't you know that he is the penultimate blue note recording artist? maybe the *most* discussed non-Miles type guy on this board use the search engine, dude

I saw the band a couple of times with Nasheet Waits what tempos does the music not vary from? I like (as is my pleasure) when they grooved hard. I found when they went into the ballidic mode, that I could become bored pretty easily, Versace is wonderous when they push the tempos to mid-tempo or faster