Gittin' To Know Y'all: Improvised Music....

[Larry Kart]

Allen: Don't have the energy to re-read the Lewis piece right now, but I had the feeling that he did have enough knowledge of the pre-avant garde Euro jazz scene(s) to go on to say what did about what he wanted to go on to talk about. Also, does he say or even imply that the state of pre-avant garde Euro jazz was "barren" in purely musical terms? Isn't much of what Lewis talks about a state-of-mind, sense-of-collective-self thing, and isn't it bolstered by a number of contemporary quotes from Euro players and critics? Those quotes may or not be as representative as Lewis suggests, but they are evidence of some sort of what some guys were thinking at the time or soon afterwards and are congruent with a lot other such stuff that I've read and heard about how that first generation of Euro Jazz avantgardists thought about themselves and how and from what they were trying to "free" themselves.

Have to leave the house for a while, so if Allen or someone else replies, and I don't respond today, that's why.

[Chuck Nessa]

George didn't mention Honda Accords or Post-It notes. Both are huge 20th century influences.

[AllenLowe]

and let's not forget Harry Reems, Adolf Hitler, and the cast of Fame...

[Lazaro Vega]

Writing From Europe via Chicago Improv:

For those of you who may want more background information on the current

state of European improvisation this is probably the most scholarly and

comprehensive resource around - http://www.shef.ac.uk/~ps/efi/efhome.html

Giles Thomas

[damonshort]

And this from Chicago drummer Damon Short (via Chi Improv):

with all due respect,... (snip)

nope, that wasn't me, although I don't necessarily disagree with the sentiments.

Damon Short

[Lazaro Vega]

Yikes! Sorry Damon -- wonder who the other Damon is on Chi Improv?

That attribution was on me. My bad. LV

[Gary]

I'm slowly working my way through George E. Lewis' piece & as a relative newby to the music I'm finding it fascinating.

I thought I'd try and find a copy 'Gittin' To Know Y'all' by Lester Bowie but its proving to be a bit scarce.

Edited May 5, 2005 by Gary

[Lazaro Vega]

After spending some time checking out Dusty Groove and other on-line jazz resources I see you're right -- it isn't just popping up as available....I believe it was first on MPS Records.....

This from Margaret Davis:

"George Lewis sites 'Gittin' To Know Y'all' as the

recording that presents a meeting between AACMers and Europeans. ( Hey

George, what's the label and catalog number?)," you can find this on the Web

at www.tomajazz.com/vsop/bowie_lester_baden.htm, written in Spanish:

Lester Bowie & the Baden-Baden Free Jazz Orchestra: "Gittin' to Know

Y'All," MPS LP 15269, recorded at the Baden-Baden Jazz Meeting, 12-15

December, 1969, produced by Joachim E. Berendt, as follows:

CARA [sIDE] A:

1.- Gittin' To Know Y'All/Part I (Lester Bowie) 23:35

CARA B:

1.- Gittin' To Know Y'All/Part II (Lester Bowie) 8:25

THE BADEN-BADEN FREE JAZZ ORCHESTRA dirigida por [directed by] LESTER BOWIE:

Trompetas: Lester Bowie, Kenny Wheeler, Hugh Steinmetz

Trombones: Albert Mangelsdorf, Eje Thelin

Saxo soprano: Joseph Jarman

Saxo alto: Roscoe Mitchell

Saxos tenores: Alan Skidmore, Heinz Sauer, Gerd Dudek, Bernt Rosengren

Saxo barítono: John Surman

Clarinete bajo: Willem Breuker

Guitarra: Terje Rypdal

Piano: Dave Burell

Piano preparado: Leo Cuypers

Bajos: Barre Phillips, Palle Danielsson

Baterías: Steve McCall, Tony Oxley, Claude Delcloo

CARA B:

2.- Ved Soerevatn (Terje Rypdal) 8:38

THE TERJE RYPDAL GROUP

Joseph Jarman (flauta)

Bernt Rosengren (flauta, oboe)

Karin Krog (voz)

Terje Rypdal (guitarra)

Barre Phillips y Palle Danielsson (bajos)

Steve McCall (batería)

Claude Delcloo (campanas)

CARA B:

3.- For My Two J.B.'s (Karin Krog) 1:06

KARIN KROG

Karin Krog (voz)

CARA B:

4.- May Hunting Song (Willem Breuker) 4:49

THE WILLEM BREUKER-JOHN SURMAN DUO

Willem Breuker (clarinete bajo)

John Surman (clarinete bajo).

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