David Ayers

Well, Spotify is still going strong and has continued to add tracks - major chunks of the Universal classical catalog just appeared. WHo knows how that will go? I do think, though, that the move from ownership to access has a long-term logic behind it, so I'll be surprised if no way is found to make the model viable.

Nice find. Thanks!

Ah! Good! Thanks!

You're right - I thought it didn't but it just doesn't highlight the phrase. My world has changed forever.

ohhhh... thanks! no searching on phrases then....?

OK I am sure this has been answered, and if I knew how to do complex searches I'd no doubt find it, BUT I don't. How do I search on a phrase or a series of terms - or can't I? I.e "Hampton Hawes" or Hampton AND Hawes AND Japanese AND releases. It seems the board software won't do anything like this. Or am I mistaken?

Ah well thank you for that. In fact I wouldn't go so far, since as I've begun to say in a few other threads I am interested in questions regarding the presentation of music (not only jazz) to large audiences, and I am not really convinced that all such attempts 'sell out' an avant-garde moment which could otherwise be serenely sustained. So I don't see Holland's idiom as a commercial project, by any means, though it seems to me that the process of reaching a public with a stabilised (TWA) music involves a certain, um , qualification, not to say, uh, psychic mutilation. To paraphrase John Stevens, 1.2.Habermas-Adorno. Two favorite record titles of all time: '1.2.Albert Ayler' (had it, sold it); 'History of the Last Five Minutes' (never heard it - wouldn't want to spoil the title). While we're at it, what is the Pathways premium edition box set...?

Really? Never saw that one, otherwise I would have grabbed a copy before I went for the Box. Yep, I still have a copy of that issue - picked up in Canada. Possibly Collectors Choice - will have to check. This wasn't one of the CCs according to the list I kept. I've seen it, it's rare, but I only saw it after I got the TOCJ. Which means I didn't buy it so can't confirm the date of issue. The cat. no. is CDP 7243 8 37668 2 6. I thought it might be a title that was issued in the late 80s as part of the glut then (unusually) not reissued as a CC, but the date of issue I find on the interweb is 1996, which is weird - how would we have missed it?

We were unlucky that this set and the Kelly/Chambers ran out suddenly. I had the Morgan/Shorter but missed the Kelly (I was busy: suddenly it was gone). The sudden disappearance has kept the prices high, it seems.

The people have a right to be told the truth!!

I see what you are saying, but it's not what *they* are saying and it's a slightly technical defence! I can't see any reason to discount the live session by the same quartet which made Seeking (except that, admittedly, it's obscure) or any reason to discount the other Hat, or the two discs of duets on Emanem. I think their blurb writer is just a bit given to overkill('Collectors have waited years. Now it's here. Complete and in the best ever sound. Some of the greatest kazoo playing you never heard. Note-for-note annotation by a tame genius we keep in the cellar.')

Hm, a strident but anonymous person on the internet. Well I never. In fact Dave Holland sold out a concert at the QEH here in November - that's nearly 1000 seats, I'm guessing. If it is true that he is unable to draw even 500 in the States then I'm surprised.

There are lots of other Carter/Bradford releases - why make this obviously Andorran claim?

Have you listened to studio and live versions of the same songs, like for instance on "Extended Play" and on "Prime Directive/Points Of View"? If so, would you argue that there is little difference between the respective versions of the music live and in the studio or that there is a significant difference? I'm guessing Chuck doesn't care for either! There is a big middle-of-the-road in contemporary jazz, digestible and safe (and not just in contemporary jazz). 'Sophisticated', yes, but not thrilling from the point of view of aesthetic innovation. Dave Holland was right up in the mix of innovation, there, one time. Now he leads effective, serious and (within the limits of jazz) 'commercial' bands. Good musician and no-one can doubt that he makes his choices with a full and clear view of all the alternatives.

Hey - did you pick up that copy I linked you to? I see it's now gone...

Why not call your insurer and ask them how they would prefer it done? In truth you would be insuring against fire and flood etc at which point you are talking ballpark, right?

Probably one of those you need to be in the right mood for. Don't expect The Sermon!

See this thread: Thanks!

Uh, Carter/Bradford? I missed something...

'Cherokee'? No?

By Chicago I meant, here, some small-instrument style percussion, a multi-instrument approach, and use of 'space'. None of the pure surrealist whackiness of some paragraphs of early Art Ensemble, but a connection all the same. I'd say a commodified version of space/silence became one of the ECM trade-marks, and I had in the back of my mind John Litweiler's argument that the Art Ensemble migrated from its early and radical emphasis on space as it became more percussion (and entertainment) driven. I was reminding myself how early ECM was not yet 'ECM' and that these early Garbareks belong to the same label-world as Afternoon of a Georgia Fawn and The Music Improvisation Company, and I am making a suggestion that the evolution of ECM in some way occupies the same history of loss of an avant-garde moment in ways we sometimes lose sight of. I'm a cultural historian, what do you expect from me?

Oh yeah - hadn't thought of that - I think KV and PN-L have other gigs in Europe before this, so it may all be up in the air. Or not.

http://www.cafeoto.co.uk/programme.shtm scroll down a bit... bit further... that's it...

Well, tease as you may, but this little box tells a history. Early ECM and early Garbarek are much more on the avant-garde side than much of what followed on the label. The first two LPs in the box have strong Chicago, Sanders, Coltrane and even Ayler elements (I kid you not). The last one, Dansere, reins it in and begins to sound more ECM-y. Just begins. So you can start to see the ECM sound as a genteel evolution from the harshness and wilfulness of the avant-garde. Really, early Garbarek is quite interesting. These albums are the missing link between Chicago and Munich and represent one strand in the development of moderns jazz(s, plural) in the wake of the avant-garde (and of its exhaustion). Lesson over. I feel certain you'll buy this set now.

Well they look like CDs...