Live recordings you were in attendance

[A Lark Ascending]

Three from my Canterbury days. Come to think of it, I've never been to Canterbury.

Only one track on the last one.

Not sure if this counts:

Edited August 27, 2013 by A Lark Ascending

[Kevin Bresnahan]

I forgot another one: The 12th Annual John Coltrane Memorial Concert

Before the show, they announced that Miles had died earlier in the day. They had Naima in the audience too. Memorable concert if only for the fact that it's not often that anyone attempts "A Love Supreme" in its entirety very often.

[Chuck Nessa]

Never thought about it but I must have been at some.

[PHILLYQ]

King Crimson at the Pier, 1982

3 Allman Bros. Instant Lives

Mingus at Carnegie Hall(Please release the entire concert!)

Herbie Hancock 'VSOP'(Has the Mwandishi band and the headhunters as well)

[Hardbopjazz]

I forgot about this one. This was Cecil Taylor Tony Oxley show at the Village Vanguard in July 2008. It was recorded and released as an LP by Ben Stein. He is the program directory of WKCR. I am not sure which set, but I was at all 12 sets that week.

I'm at the bottom of this New York Times photo. Cecil is a genius. Maybe a new word needs to created be to describe his genius.

Cecil finished one set after only 40 minutes and Lorraine yelled, get back up there and play. Cecil just walked up the steps to have a smoke. I don't thinks he has been back since.

Edited August 27, 2013 by Hardbopjazz

[AllenLowe]

It's heresy to admit, but I found it pretty boring -

Edited August 27, 2013 by AllenLowe

[mjzee]

Oh yeah. I was at this one:

What a silly concert.

Was also at this one:

I do not like Cecil Taylor.

[7/4]

King Crimson at the Pier, 1982

I was at some of those shows.

I was at this show, surprised to see it come out:

TISZIJI MUNOZ With PHAROAH SANDERS/RAVI COLTRANE/RASHIED ALI/PAUL SHAFFER/DON PATE - Divine Radiance Live! At The Village Underground, June 10 2003 (Anami 030; USA) Featuring Tisziji Munoz on guitar, songs & vision, Pharoah Sanders & Ravi Coltrane on tenor saxes, Paul Shaffer on piano, Don Pate on bass and Rashied Ali on drums. It seems hard to believe that this incredible live set was ten years ago in June of 2003! What is even more amazing is that this special concert was organized through the hard work of Paul Shaffer, ace keyboard player and longtime bandleader for the weekday night David Letterman TV show. Mr. Shaffer met Mr. Munoz on the streets of Toronto more than forty years in 1969 and they have been friends ever since with Mr. Shaffer helping out his inspiration whenever he can. Although the often mysterious and misunderstood Mr. Munoz remains under the radar at times, those with their ears to the ground recognize his amazing guitar playing and transcendent music. One of Tisziji's main inspirations has been the sax playing, music of and spiritual journey of John Coltrane. Hence, Mr. Munoz played and recorded with Trane-collaborator Pharoah Sanders in the early seventies, as well as later working Trane's last drummer Rashied Ali. Coming full circle is Ravi Coltrane, son of John, who along with Pharoah Sanders and Rashied Ali, who were a part of the special cosmic gathering. All of the stars were aligned on this night at the now defunked Village Underground, a truly cosmic all-star sextet took the stage and blew all of the minds in attendance. What we have left is a 70+ minute CD which you should be holding in your hands to help you enter another world, healing music for all of those who need to healed, whether they recognize it or not. This is the sh*t! There are those who don't take Paul Shaffer seriously since he is a well-recognized figure on major network TV, the sideman or fall-guy for David Letterman. Shame on them. I've caught Mr. Shaffer with Munoz on several occasions as well as on record. Paul is a most impressive keyboard player and he shines like everyone else in this special sextet, every solo stunning. What I love about this disc and that concert is that the band takes their time, slowly building upon a firm foundation, one great solo at a time. What I find so interesting is that Munoz inspires his bandmates to play their best, better than they often play with their own bands since is filled with that burning, inner-flame. Whenever Pharoah or Ravi take solos, Tisziji and Paul exchange lines, pushing each other and the soloists higher and higher. Besides the great sax solos, the interplay between the guitar, piano, bass and drums is consistently astonishing. For those of you who need that spirit/force/jazz tapestry, this is your medicine to take it and heal yourself! - Bruce Lee Gallanter, DMG

TISZIJI MUNOZ With PHAROAH SANDERS/RAVI COLTRANE/RASHIED ALI/PAUL SHAFFER/DON PATE - Paul Shaffer Presents: A Conversation with Tisziji Munoz + Video from Divine Radiance Live! - Village Underground, June 10 2003 [DVD] (Anami 030 DVD; USA) The first twenty minutes of this DVD is a interview/discussion between Tisziji Munoz and Paul Shaffer. They talk about when they first met in 1969 and how Paul learned from Tisziji, first learning Munoz' music and then letting go. The ever spiritual Munoz talks about learning through the native elders who give visions and guide us from the outer worlds or solar system and eventually landing on the planet earth when we are born. Paul asks Tisziji how the band prepared for this gig, but Tisziji says that there was no rehearsal, he knew how to choose the right musicians. The concert footage is well captured and everyone in the band is in great form. Everyone gets a chance to solo and each solo is something else. The sextet is completely transcendent, lifting the audience out of their seats and into another dimension. Since this was filmed, the great Rashied Ali passed away, and the Village Underground closed it doors to performance.

This disc is about 48 minutes long and it features a cosmic event, a meeting of six spirits coming together to help us travel to other worlds. You can tell that something special was going on that night. To hear the complete live set, check out the 'Divine Radiance Live' CD! - Bruce Lee Gallanter, DMG

Edited August 27, 2013 by 7/4

[B. Clugston]

Anthony Braxton, 2001, Paris.

http://tricentricfoundation.org/label/new-braxton-house/tentet-paris-2001/

[BeBop]

Man, there must be 50 or more. At least a third of the live recordings from Keystone Korner over the last five-plus years of its life and a fw before that (Dex, Hub, Chet, Rahsaan, Jaki, Blakey), some from the early days of Yoshi's on Claremont (Johnny Coles/Frank Wess< Jessica Williams), a couple at Maybeck an most of the Concord Jazz Fest recordings.

[paul secor]

Oh yeah. I was at this one:

What a silly concert.

Was also at this one:

I do not like Cecil Taylor.

Curious why you went to the concerts. To hear Mary Lou and Max?

[marcello]

Are the any recordings you were in the audience when they were being recorded? I found two that I was at when these were being recorded. Cedar Walton Sextet "The Art Blakey Legacy," and "Bambino." Both were recorded at Sweet Basil in NYC in 1993. I didn't know at the time these would be issued. I would have clapped and cheered louder so I can say, "That's me."

I was there too. At least on one of the nights of the run.

I wasn't thrilled.

Brownie wins by a long shot!

Edited August 28, 2013 by marcello

[mjzee]

Oh yeah. I was at this one:

What a silly concert.

Was also at this one:

I do not like Cecil Taylor.

Curious why you went to the concerts. To hear Mary Lou and Max?

As I recall, Cecil was all over NYC at that time. Gary Giddins praising him to high heavens, the New World releases getting wide acclaim, all these Japanese Trio releases hitting our shores (like Akisakila), etc. I kinda knew what Cecil was about, but it doesn't hurt to experience it for yourself. At least I thought it wouldn't hurt. The Cecil/Max concert was the worst. Max is a great drummer, and I could always focus on him when the going got rough, but I thought Cecil's music was pure aggression, sort of the piano pummeling my head for however long the concert lasted. It felt like punishment.

I remember when the Cecil/Mary Lou concert was announced, Mary Lou saying there was enough common ground in their music and in the jazz tradition to make for an enjoyable, enlightening concert. I kinda suspected it would be a train wreck, albeit perhaps an enjoyable one. It was even more of a hoot to see Bob Cranshaw and Mickey Roker as the rhythm section. This would make sense as a Mary Lou rhythm section, but they had no insight, affinity, connection with what Cecil was playing. It was so weird to hear Mary Lou w/bass and drums playing something traditional, only to hear Cecil chattering away concurrently, almost like Unit Structures and Earl Hines played at the same time. It was nice to see and hear Mary Lou; that's about all I can say. The recording's around in case anyone wants to check my impressions.

It's still remarkable to me to see how many people profess a love for Cecil's music; the most recent one is in the Bill Cosby article I posted. Perhaps someday I'll "get it"; that why, every so often, I'll try again. But I think I'd rather bash my head against a wall than hear another Cecil concert.

[Hardbopjazz]

Another one I just recalled. Sonny Rollins' Road Show Volume 2.

[danasgoodstuff]

Steve Lacy, The Rent, on Cavity Search, recorded here in Puddletown. Good record, great concert.

[Cali]

[medjuck]

Just remember that I was at the Sun Ra at the Horseshoe recording in Toronto. In fact I think you can hear me saying something really stupid.

[jeffcrom]

Oh yeah. I was at this one:

What a silly concert.

Was also at this one:

I do not like Cecil Taylor.

Curious why you went to the concerts. To hear Mary Lou and Max?

As I recall, Cecil was all over NYC at that time. Gary Giddins praising him to high heavens, the New World releases getting wide acclaim, all these Japanese Trio releases hitting our shores (like Akisakila), etc. I kinda knew what Cecil was about, but it doesn't hurt to experience it for yourself. At least I thought it wouldn't hurt. The Cecil/Max concert was the worst. Max is a great drummer, and I could always focus on him when the going got rough, but I thought Cecil's music was pure aggression, sort of the piano pummeling my head for however long the concert lasted. It felt like punishment.

I remember when the Cecil/Mary Lou concert was announced, Mary Lou saying there was enough common ground in their music and in the jazz tradition to make for an enjoyable, enlightening concert. I kinda suspected it would be a train wreck, albeit perhaps an enjoyable one. It was even more of a hoot to see Bob Cranshaw and Mickey Roker as the rhythm section. This would make sense as a Mary Lou rhythm section, but they had no insight, affinity, connection with what Cecil was playing. It was so weird to hear Mary Lou w/bass and drums playing something traditional, only to hear Cecil chattering away concurrently, almost like Unit Structures and Earl Hines played at the same time. It was nice to see and hear Mary Lou; that's about all I can say. The recording's around in case anyone wants to check my impressions.

It's still remarkable to me to see how many people profess a love for Cecil's music; the most recent one is in the Bill Cosby article I posted. Perhaps someday I'll "get it"; that why, every so often, I'll try again. But I think I'd rather bash my head against a wall than hear another Cecil concert.

Mjzee, I'm not trying to change your mind, especially since the Williams/Taylor concert/recording has been bashed by folks from both sides of the pro-/anti-avant-garde fence. But your post inspired me to change my late-night listening plans and spin Embraced instead of the soul jazz I had been planning on playing. I love the album. Cecil's "chattering" almost always reflects what Mary Lou is playing at some level, albeit reflected through a series of funhouse mirrors. I think the recording shows Cecil to be more flexible than Mary Lou; he is responding to her playing, but she pretty much goes her own way.

Your comments about the rhythm section are right on target. In an interview, Cecil talked about campaigning for Andrew Cyrille to be the drummer, since he had played with both pianists; Ms. Williams insisted on Cranshaw and Roker.

But hey - I can understand how many (most?) folks think this concert was a hot mess. It just happens to be a hot mess I really enjoy - I hear the connections in what they're playing.

The Taylor/Roach concert is something else - an unqualified masterpiece, in my opinion. But if you don't like Cecil, it's like my man Steve Lacy said - it's a matter of affinity. Some people are drawn to challenging, abstract music, and some aren't. Nothin' wrong either way.

[mjzee]

It was Mary Lou who insisted on Cranshaw and Roker? I'd of thought it was Norman Granz. I'm surprised he didn't make them do Sweet Georgia Brown.

[jeffcrom]

It was Mary Lou who insisted on Cranshaw and Roker? I'd of thought it was Norman Granz. I'm surprised he didn't make them do Sweet Georgia Brown.

Or "Blues for Norman."

[BFrank]

VERY impressive! Lotsa great ones, guys.

Here are a few I was at - I'll try to think of others.

[Hoppy T. Frog]

A Marilyn Crispell/Louis Moholo duet in Baltimore that was put out on Intakt.

[Clunky]

You can hear me shout out at one point.

I don't believe you, you're a....

[A Lark Ascending]

You can hear me shout out at one point.

I don't believe you, you're a....

Not at all.

The truth was that it was a really boring concert. So much so that me and my mate started playing a history quiz (we were so rock'n roll). He shouted out 'The British Royal Family in the 16thC?" as the applause died and I shouted back into the ensuing silence....

Edited August 31, 2013 by A Lark Ascending

[Steve Reynolds]

Most of the great shows I've seen over the years have been at Tonic, The Stone and Cornelia Street Cafe

Very, very few recordings of anyone for whatever reason have been released of anyone from these venues