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corto maltese
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Posts posted by corto maltese
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2 hours ago, David Ayers said:
Nice image!
But there is also an LP by Richard de Bordeaux and Daniel Beretta...
Yes, that's the one I was thinking of (although it's an EP rather than an LP):
:format(jpeg):mode_rgb():quality(90)/discogs-images/R-1437929-1437855503-8850.jpeg.jpg)
I always thought (and have read) that Camus substituted this "freakbeat" soundtrack for the free jazz soundtrack (like Ornette's Chappaqua soundtrack that was commissioned, but not used by Conrad Rooks). But I won't argue with optatio because he has seen the film and I haven't.
Anyway, thanks for the info, optatio! And how's the film?
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Steadily progressing and now reaching track 10, which is unmistakably of the UK improv school. Plink, plonk & scratch aka "insect music". Lovely!
After checking a couple of records, I discovered that it's Ian Brighton's Balance (Incus, 1973) with Phil Wachsmann, Frank Perry and Radu Malfatti, who, at that time was still playing more than 3 notes an hour.
The cello put me on the wrong foot first, but that's Colin Wood (Spontaneous Music Ensemble) who guests on the track "Cogito Ergo Sum".
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I'm down to track 6 now: that's Evolution Ensemble Unity, a trio with Toshinori Kondo and the great Mototeru Takagi. They recorded one album ("Concrete Voices", 1976), which featured a Monk and a Lacy composition ("Bone", this track).
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The first track is "Nisshimbo", the opening track of "Nu!" by Hugh Steinmetz (Debut, 1966).
What a great way to open a BFT !
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Good!
And even if you don't like them, they at least look better than that boring yellow cover.
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On 7-11-2016 at 6:04 PM, robertoart said:
Sorry for late acknowledgement. That's very interesting Corto. I came to the Album through an older guitar player at the time who gave me some of my first lessons. He had been over and studied at a place called GIT in LA, which focussed on training guitarists to be Studio aces. Anyway, he lent me a mix tape that someone gave him over there, which contained as I remember it, some Santana, Miles Fat Time featuring Mike Stern and some other Fusionesque things. One night, i was lying in bed listening (I was about 17 and first hearing Bird and Wes Montgomery), and there was a thing on the tape I fell in love with, and on the tape it said James Blood Ulmer, with no other information....I moved to the city soon after, and I saw a record in a used bin that said James Blood...and it was Are You Glad. I bought it hoping to hear whatever I heard on the cassette
But what I heard instead, was a maelstrom of (what sounded like) discordant improv. I wanted to know everything about the guitar in Jazz at the time, so I played the record everyday for about a week. Suddenly it just clicked, and I heard it for all its power and beauty. I ended up buying every second hand Ulmer l could find, trying to find the song I heard originally on the mix tape. After about a year, of hearing, and inadvertently absorbing everything Ulmer had done up to that point (the year was 85), I finally found the song I was looking for was off Arthur Blythe's Lennox Avenue Breakdown. But by that time I was naively trying to incorporate Blood's approach into my limited Jazz and Blues vocabulary, and found myself being asked to play with lots of Post Punk players (many horn and reeds players and drummers), who were listening to similar stuff to what you were into as well. They loved those early Blood albums, and they dug what I was doing even if I wasn't coming from where they were. These guys were serious musicians, some of whom had played with, or would go on to play with Nick Cave and others (this was in Melbourne). If I hadn't have been listening to those Blood albums, and then Ornette, I doubt I would have got the chance to play with so many great musicians at such a young age (although they used to make fun of me because I could play ACDC songs) 
Nice story.
It brings back memories of my fondness for the (I suppose small, but apparently vibrant) experimental post-punk scene from Australia and New Zealand at that time: stuff on labels like M-Squared, Flying Nun (the early years)...
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13 hours ago, mjazzg said:
Circle - Paris Concert [ECM]
I was interested to discover elsewhere on the board today that there are two other live Circle albums about which I knew nothing
And, more importantly, which are both far superior to the ECM.
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18 hours ago, mjazzg said:
Funny that because until this LP I too hadn't really been grabbed by anything of Liebman's. I came to the Open Sky LPs through Bob Moses.
Have you found anything subsequently that has consolidated the cool and original Liebman view? I'm thinking I might explore a bit more
May I chip in and recommend "First Visit" (Philips Japan 1973 - with Richie Beirach, Dave Holland and Jack De Johnette)?
If you like Trane and Ali on "Interstellar Space", you should really hear the title track...
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14 hours ago, rostasi said:
This topic got me thinking...
If you wanted to suggest a recent jazz album to a young person -
one that 30 years later they could proudly say that they bought,
which would you choose? "Recent" is kinda open, but maybe
a 21st Century album (?)Actually, I don't think "albums" are still particularly relevant to young listeners (or musicians) today.
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1 hour ago, robertoart said:
Awesome. That is quite a first up purchase. Do you still like it?
Well, it was released on the Rough Trade label, home for a lot of my favourite post-punk/diy/experimental... bands at that time (early Cabaret Voltaire, Raincoats, Swell Maps, Red Crayola, This Heat, etc.). I probably didn't even realize I was buying a "jazz record".
I could have picked this one too:
Not a "jazz record", obviously, but bands like The Pop Group were very important in showing (the young and impressionable) me the way to a whole new world of avant-garde jazz and free improv.
And yes, sure, I still like those records; especially The Pop Group.
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Re: Olly Wilson.
One of his first recorded works, on a CRI LP from the mid '70s ("Other Voices"), was the electroacoustic "Sometimes", a quite powerful composition for tenor and tape based on the spiritual "Sometimes I feel like a motherless child".
It reappeared later on a CD by Videmus with contemporary chamber works by African American composers who were influenced by modern/avant-garde jazz. One of the composers was Donal Fox, who also played on the CD, as did Oliver Lake. In fact they performed a piano-saxophone duet (composed by Fox) called "Jazz Sets and Tone Rows".
That could have been a nice 13th track for this BFT.
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22 hours ago, JSngry said:
Ikef
When I was three
I blew icons of milk
from sweet pipes of flesh
and giggled at the eye-bubbles
giving me pleasure.
When I was six
I blew icons of soap
from wooden pipes
and chased little girls
on giant bubble-dragons.
When I was nine
I blew hero wings
from stolen cigarettes
and staggered over
smoke-ropes of lies.
When I was twelve
I blew kisses on paper
to big girls
who broke my bubbles
with knowing eyes.
When I was fifteen
I blew icons of pleasure
from a horn, dreaming
of milk, crystal spheres,
and warriors eating honey.
When I was eighteen
I smoked icons of kef
and blew images
that spun and exploded,
reflecting visions of three.
Henry Dumas
Well, okay, since you seem a tiny bit desperate (all these hints), I have to bite:
it's from Olly Wilson's song cycle "Of Visions and Truth", performed by the New Black Repertory Ensemble (cd "Recorded Music of the African Diaspora").
It's even on YouTube (although the video is "not available" here...).
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20 hours ago, Dmitry said:
The day will come when mint conditioned 1st pressings of BN and other labels will be scanned, 3-d printed and offered on demand. Wishful thinking?
That's more or less what the Japanese are doing today: offering 100 % exact repro copies of vintage Blue Note records (cover and vinyl; yes, even including the deep groove).
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A couple of nights ago both "Golden Circle" records and the Town Hall 1962 record were played almost in full on a Belgian radio station.
Just imagine: two hours of the great Ornette Coleman Trio on nationwide public radio... In 2016!
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On 15-10-2016 at 10:32 PM, JSngry said:
TRACK FIVE - Identified. John Cage, Sonatas & Interludes for Prepared Piano. Bonus points available for identifying the specific performance/recording.
I just noticed the bonus points offer.
It's Maro Ajemian playing, a close friend of Cage's and the dedicatee of the work. For quite some time, she and the composer himself were the only performers of the Sonatas and Interludes.
She also made the first recording of the work for the Dial label in (I think) 1950. This recording was released on two Dial LP's in 1951 (in those thick sturdy cardboard covers). What we're hearing in the BFT is the 5th sonata, although it's obviously taken from a remastered CD reissue, because the sound is much cleaner than on my Dial vinyl.
I keep saying this: it's wonderful, thrilling music (not at all "difficult"), but you really should hear the complete cycle.
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7 hours ago, clifford_thornton said:
Steve Lacy - Solo at Mandara - (ALM, Japanese original)
not exactly the record I'd expected to walk into a shop and buy today...
Thrift store find, I suppose...
Did you look for the solo "Space Who" in the $1 bin?
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Track 10 is indeed an aria from an opera by a "jazz composer", as was suggested by randyhersom. Not Braxton, but Anthony Davis.
It's from "Tania", Davis' opera on Patty Hearst.
Track 12 is a very young Mr Sangrey experimenting with the 4 track cassette recorder he got from Father Christmas.
I liked this BFT.
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Track 7 is George Crumb's setting of "Lonesome Road" from his "American Songbooks", all gorgeous music for soprano, piano and percussion quartet.
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Track 5 surely is John Cage's prepared piano music. One of the Sonatas and Interludes.
Splendid choice.
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On 5-8-2016 at 6:28 PM, sidewinder said:
Clifford - I picked this one up about 5 years ago and I don't think it was FMR although I may be wrong. Since then it has also been reissued over here on CD on another label (can't recall which).
I thought that run of 99 copies was initially reduced due to some of them being disposed of so Howard probably has a total monopoly on what is potentially out there.
Also in the 'private pressing' category - the late UK guitarist Frank Evans on his own 'Blue Bag' label.
The first reissue was on the Voiceprint label; the recent one (with two unreleased tracks by an earlier Riley trio - which I haven't heard) is on Dusk Fire. You can find (and buy) both issues on Discogs and elsewhere, I suppose.
I've been told only 99 copies of the original record were pressed to avoid UK sales tax (treshold being 100 copies). Ditto for some other jazz records like the releases on the Nondo label (One Music Ensemble) and the "Kwela" LP with Dudu Pukwana and Chris McGregor. Anyway, all of these are very hard to find.
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On 23-9-2016 at 4:14 PM, JSngry said:
up?
This guy (Ruben Toledo) is the leader and conga-player of Grupo La Lleva, a Colombian salsa dura band (he has also posted some great clips of his own band live). So the source of these vintage clips could be Colombian TV.
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On 27-9-2016 at 5:44 PM, clifford_thornton said:
I think of the private press as something run by an artist or artist's collective putting out only their music and generally not connected to a large distribution service (the exception being NMDS and North Country in the US -- not sure elsewhere) and releasing titles in relatively small quantities, say 1,000 or fewer.
Lloyd McNeil's records were privately pressed, yes.
I have hundreds of records fitting into that definition, but I'm afraid not many of them would meet the topic starter's expectations (musically, that is).
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On 16-9-2016 at 4:50 PM, clifford_thornton said:
Here's something I wrote on the Brown -- actually, all three of the records he and Gunter Hampel produced in Europe at that time -- for Paris Transatlantic some years ago.
Nice piece, Clifford.
One remark: the music of "Le Temps Fou" was actually never used by Camus. His film was released two years later (titled "Un Été sauvage") with a completely different soundtrack.
Marion Brown's European years are fascinating: I've read about live improvised music for avant-garde theatre, a recording session with a symphony orchestra, etc. I'm thankful for the records we have from these years, but any additional recordings would be wonderful.
BFT 152 – November 2016 Link and Discussion
in Blindfold Test
Posted · Edited by corto maltese
(double)
My condolences, Clifford.
What the world needs now is music, sweet music. Your BFT can help!