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Thanks for the heads up

Now listening to Jolivet's Second Cello Concerto with Rostropovich:

Saw Coleman with the remains of the Bad Plus a few weeks back, playing Jarrett's music from his American Quartet days. Overall, an enjoyable concert. This may be the first time I've seen Coleman live. I'll be heading over to the Rex to catch Allison Au play on Friday and probably the set afterwards, depending on how tired I am. The following week it's Kirk MacDonald and Pat LaBarbera doing their annual Coltrane tribute at the Jazz Bistro with Neil Swainson on bass and Terry Clarke on drums. Terry actually sat in once with Coltrane, though he was hardly a regular...

Just watched Steve Coleman, with Jonathan Finlayson on trumpet, Rich Brown on electric bass, and Sean Rickman on drums. The gig was at Ronnie Scott's. Some very good tunes, which really made me realise how much Coleman in practice owes to his elder namesake Ornette Coleman (even if he himself maybe prefers comparisons to Charlie Parker). But the band lost the audience quite badly in the last quarter of the show with some ill judged audience participation. It was quite a harsh turn.

Now listening to selected works from this set:

Yelena Eckemoff ABBA Museum IMPACTING NOW! Format: Jazz, Rock “With Rosendals Garden, Eckemoff ventures into particularly fertile terrain: a refined form of symphonic jazz that is as intricate as it is welcoming. The compositions are sophisticated in construction, the arrangements layered and harmonically adventurous, yet nothing feels hermetic. “Accessibility, in her hands, is not compromise but strategy. In an era when jazz often competes for attention through volume or technical spectacle, Eckemoff opts instead for narrative patience and emotional architecture. “Within the broader contemporary jazz landscape, Eckemoff occupies a distinctive space. While American jazz often leans into rhythmic assertiveness and European jazz sometimes drifts toward abstraction, she forges a synthesis: structurally rigorous yet narratively intimate, classically grounded yet improvisationally fluid. As a composer in a field still disproportionately defined by male bandleaders, her authority feels neither declarative nor defensive, it is simply assumed.” — Thierry de Clemensat @ Paris Move Original French: “Avec Rosendals Garden, Eckemoff explore un territoire particulièrement fécond: une forme raffinée de jazz symphonique, à la fois complexe et accueillante. Les compositions sont sophistiquées dans leur construction, les arrangements riches et harmoniquement audacieux, sans jamais devenir hermétiques. “Chez elle, l’accessibilité n’est pas une concession, mais une stratégie. À une époque où le jazz rivalise souvent d’intensité sonore ou de démonstration technique, Eckemoff choisit au contraire la patience narrative et l’architecture émotionnelle. “Dans le paysage du jazz contemporain, Eckemoff occupe une place singulière. Là où le jazz américain privilégie souvent l’affirmation rythmique et où le jazz européen tend parfois vers l’abstraction, elle forge une synthèse: structure rigoureuse, intimité narrative, ancrage classique et fluidité improvisée. Dans un milieu encore largement dominé par des figures masculines, son autorité ne s’affiche pas; elle s’impose naturellement.” For interviews, review copies, or media inquiries, contact: Harry Eckemoff info@yelenamusic.com www.yelenamusic.com www.landhproduction.com Follow Yelena Eckemoff: https://hypeddit.com/eckemoff/rosendalsgarden  

Yep, yep! I know there's been a revival of interest in his work somewhat recently, but this LP (hir first, IIRC) remains overlooked even so. Also, Dennis Sandole alumni represent!

I am OK with paying ahead as long as I get the book at some point!

Japanese reissue of this forthcoming:

I finished "Listening To Prestige" earlier today. It was definitely the type of book I was able to read on and off over a number of weeks . Much of the book's discussion of musicians who recorded for Prestige was familiar to me, though every so often I discovered something of which I was unaware. As I said in a previous post, the book caused me to listen to some albums on Prestige that I had not heard in a long long time. Though I would not consider the book an essential read for jazz fans, I did enjoy it and am glad I read it.

John Coltrane, Archie Shepp, Bob Thiele, August 1964, RVG studio

Grateful Dead, April 14, 1972, Tivoli Gardens, Copenhagen, disc 3

One more bump. $90 plus media mail. Paypal F/F. Thanks.

hmmm hope I get mine soon and then I will have to decide ... set aside the Prestige book to read this first or continue on and then move on to the KD? I have barely cracked Listening to Prestige. Not that it doesn't strike me as something one could pick up and set down and read very piecemeal.

Mine has shipped.

I had forgotten that Rufus Harley was an interesting (enough) tenor player!

Just Checked Amazon - Whistle Stop is $99. for the Hard Back, and $30. for the paperback. Did not see and eBook mentioned.

Yeah, mine arrived Wednesday last week. I ordered another book from them at the same time that was in stock and that came near immediately. Hope you get your copy soon.

Well done. I was honing in on the drummer as the key but I've never heard of Billy Abner and wouldn't have gotten this.

Op.18/1 and Op.127