David Ayers

At the time of clicking the Cam Jazz site shows only the Lacy, but amazon.fr shows four - Lacy, Murray (Octet), Braxton, Konitz. Is that all of them?

Well we are a bit behind in this thread no doubt due to lack of interest in recent releases. Far Side came and went. Then other stuff we weren't too bothered about. Next up are these: Re: Ecm by Riccardo Villalobos & Max Lode Avenging Angel by Craig Taborn Live at Birdland by Lee Konitz, Brad Mehldau, Charlie Haden and Paul Motian Songs of Ascension by Meredith Monk These are up for pre-order on amazon.co.uk. I guess I'll give the Taborn a go. I am sure I'd enjoy the Konitz but how much more comfortable Hadenism do I need in my life? Never got into Meredith Monk. Now's the time?

'Only'?

I hear you on that, but isn't the Arista just a clearer proposition from a *retail* point of view? When I first saw the Mbari I had no idea even what it was!

FWI here is the 2009 list. The titles that appeared are in bold. Of the rest, the Nagl has been dropped, evidently, and a handful of others (notably the most sought after...) are yet to appear. I think the record is good. 617 Albert Ayler • Berlin, Stockholm 1966 2-630 Horace Tapscott Quartet• The Dark Tree [reissue of hatOLOGY 2-540] 2-640 Max Roach & Archie Shepp • The Long March [reissue of hatART 6041 + 6042] *** 4-644 Anthony Braxton • Willisau (Quartet) 1991 [reissue of hatART 4-6100] 655 John Zorn, George Lewis, Bill Frisell • More News For Lulu [reissue of hatART 6055] 658 Anthony Braxton • Seven Compositions (Trio) 1989 [reissue of hatART 6025] 662 Nate Wooley, Mary Halverson & Reuben Radding • Crackleknob 664 Lucien Johnson, Alan Silva & Makoto Sato • Pieces Of Eight 665 Joe Maneri, Tyson Rogers & Jacob Braverman • Generation Meeting 666 Dave Douglas' Tiny Bell Trio • Constellations [reissue of hatOLOGY 542] 667 ICP Orchestra • Jubilee Varia [reissue of hatOLOGY 528] 668 Lee Konitz & Martial Solal • Just Friends, Hamburg 1983 [reissue of hatOLOGY 518] 669 Jimmy Lyons & Sunny Murray Trio • Jump Up [reissue of hatART 6139] 671 Vienna Art Orchestra • The Minimalism Of Erik Satie [reissue hatOLOGY 560] 672 Polwechsel & John Tilbury • Field 673 Gerry Hemingway Quintet • Demon Chaser [reissue of hatART 6137] 674 Paul Bley, Franz Koglmann & Gary Peacock • Annette [reissue of hatOLOGY 564] 676 Michael Adkins Quartet • Flaneur 677 Uwe Oberg, Christof Thewes & Michael Griener • Lacy Pool *** 2-678 Anthony Braxton • Willisau (Quartet, Live) 1991 [reissue of hatART 4-6100] 679 Max Nagl Trio • Boulazac 2-680 Cecil Taylor • Garden [reissue of hatART 6050 & 6051] 681 Russ Lossing Trio • Swimming Dragon 682 Pandelis Karayorgis Quintet • System Of 5 683 Elllery Eskelin with Andrea Parkins & Jim Black • On Great Night...Live *** Anthony Braxton • Willisau (Quartet) 1991) re-issue in two 2-CD sets!

Hat's off to Hat for continuing to reissue past titles and issue new ones. As I see it these have been arriving over the years even if much called-for titles like the Willisau/Santa Cruz are not here yet. FWIW, DMG lists these for pre-order! But who knows what will actually arrive. Titles announced for 2010/11 did actually arrive so that's a sign of sorts. Where there is stored demand for a title it is surely sellable albeit on the low scale which we expect from jazz/improv - witness JLH's Dixon. I would have thought that reissuing the Braxtons and Taylors was a cert. Quite a few of those other titles also have a good reputation. And the new titles are an honorable mixture of the really new and the archival. But yeah, I get it, CD is on the way out... Still, from my point of view there is way too much and who can afford it or have time to listen to it (apart from the retired, unemployed and school teachers)?

Well, there's a lot of folks calling for the Braxton Willisau and Santa Cruz which were issued in 1992 and 1997 and have been unavailable for years. Of the CDs on this list 6 are new issues, 7 do yes reprint recent 500 series reissues, but 8 are reissues of long unobtainable material from the 6000 series, including the Braxtons and other titles which are often called for - Taylor, Lyons, McPhee. That's not *too* bad, is it?

Found this list on the website. 617 Albert Ayler Quintet · Berlin, Stockholm 1966 664 Lucien Johnson, Alan Silva & Makoto Sato · Pieces Of Eight 665 Joe Maneri, Tyson Rogers & Jacob Braverman · In The Shadow 669 Jimmy Lyons & Sunny Murray Trio · Jump Up [reissue of hatART 6139] 676 Michael Adkins Quartet · Flaneur 2-678 Anthony Braxton · Quartet (Santa Cruz) 1993 [reissue of hatART 2-6190] 2-680 Cecil Taylor · Garden [reissue of hatART 6050 & 6051] 688 Noah Kaplan Quartet · Descendants 689 Marc Copland - David Liebman Duo · Impressions [reissue of part of hatOLOGY 2-587] 691 Ellery Eskelin, Andrea Parkins & Jim Black · One Great Day... [reissue of hatOLOGY 502] 693 Bobby Bradford-John Carter Quintet · Comin'On [reissue of hatART 6016] 694 Joe McPhee Po Music · Topology [reissue of hatART 6027] 695 Ray Anderson, Han Bennink & Christy Doran · Open House [reissue of hatART 6155/6175] 696 Matthew Shipp Duos with Mat Maneri & Joe Morris [reissue of hatOLOGY 506/530] 4-700 Anthony Braxton · Quartet (Willisau) 1991 [reissue of hatART 4-6100 701 Steve Lacy Four · Morning Joy...Paris Live [reissue of hatOLOGY 556] 702 Anthony Braxton · Quartet (Dortmund ) 1976 [reissue of hatOLOGY 557] 703 Albert Ayler Quintet · Lörrach, Paris 1966 [reissue of hatOLOGY 573] 704 Joe McPhee · As Serious As Your Life [reissue of hatOLOGY 514] 705 Franz Koglmann · A White Line [reissue of hatART 6048] 706 Samuel Blaser Quartet · Boundless

Can we merge this with Bev's fogey thread?

UK-ites should note that Fopp has these for £3 again for calling customers.

This 2009 version of the tentet is missing Gustafsson but adds Conny Bauer as third trombone! (good to take precautions - I mean, you know, what if the other two trombonists suddenly got ill, and then...)

Gershwin. There, I'm done.

So what is their reasoning, do you think? This wasn't about what you would rather listen to, it was a reference to my criticism of Braxton's opera as a costly vanity project in an earlier thread. As you may know, those closest to him took a similar view.

People like Ornette, Miles and Duke were very opposed to generic distinctions. I agree with them and share what I take to be their reasoning.

You'd be dead wrong on that - they were both very influential on jazz as well as being influenced by it. Why must their compositions be excluded from the 'jazz' canon? There is only music, I think, and I oppose this two worlds model which others are so fond of.

Cheap enough, though one or two of the recordngs are rather dated and might not satisfy you for long... Bargain though on any measure!

Amplified viola?? Thanks for the link.

Well, Jim, I'm not totally sure that corresponds to anything I said... but anyway, how can you not need Wagner? Modern music is pretty much unimaginable without him, as I think you know... He's in your blood!

jeezus dude, what kind of a world do you live in where there's not hype and exaggeration around anybody's music? Or what kind of a world, for that matter, where somebody who doesn't like some kind of music as much as others thinks that whatever acclaim said music has received that outreaches one's own taste for said music is due to hype and exaggeration? Some people preach, some people bitch, hey, it's all bullshit. Proceed accordingly. I guess it bothers me is when it gets difficult to have a conversation either about judgement or about music history because the hype is a distraction from more measured claims. If you say anyone in jazz might be less than a compositional genius or a technical wizard on this board you get a furious response. Same when I pointed out that Horace Parlan was hardly Sviatoslav Richter and Anthony Braxton was not yet Wagner. There just seems to be no scale. Yes, people are enthusiastic, and don't always get it if you seem to be saying something different from what they assume. The problem on the end of it though is, I think, that music we care about is not widely liked. As I am always saying, there are two reasons for that - one is lies in the music, which has limitations both as music and as audience-proposition we are often unwilling to acknowledge - and the other lies in the mediation.

"infamous"????? I've listened to the music, but can honestly say I've never read the notes. Had to look to see who wrote them - someone named Jimmy Stewart. I don't know if that's the saxophonist who recorded for Cadence Jazz or someone else. Whoever it might be, his liner notes didn't have any effect on the way I heard the music. You're laying stuff on Bill Dixon's music that he didn't lay on it, nor did anyone else here - excepting you and Moms. Not at all. I thought I was being clear. I am discussing the hype and exaggeration around his music.

The infamous notes to November 1981 compare Dixon to Beethoven, Schoenberg, Berg, and Webern, as well as Armstrong, Tatum, Ellington, Young, Parker, George Russell, Cecil Taylor, etc. etc.

OK OK. I guess I have to think that hype is not aimed at me but at the unconverted and the unaware. I see a danger in hype in that it puts off the smart, who don't swallow the exaggeration. In other words, hype makes things look dumb and uncool, since only the impressionable would believe the silly fibs.

well I do, for one. Especially when they've got Ringwood Ales on cask in place of overpriced lattes.. Heh heh. Well Cafe Oto has some *great* bottled beers by Kernel! Come and join me and I'll buy you one. In fact I'll buy you ten - and a latte!

Oh hey I know Dixon's music well - from LPs even. So don't get me wrong. It's one thing to like something, another to sign up for all the hype. And to those catching up on 20 years of Dixon's output on Soul Note: welcome on board! Lots of fun to be had, in a kind of grumbly-rumbly way.