colinmce

Any tips for how to see the film?

I think mine was $5! You can really clean up with those old Bluebird/RCA LPs. I have the complete Benny Goodman and Glenn Miller collections, both for considerably under $20.

Not to veer off topic, but wasn't ESP going to reissue Sonny's Time Now this year? I recall reading about it on the website, now I see the last update was a year ago.

Usual DMG crabbiness aside, I am glancing side-eyed at this "label". I don't mean to suggest that Ornette is not being properly compensated, as it seems he is, but everything else about this weirds me out. Seems like a whole lot of bullshit. Big city, venture capitalist, crypto-corporate faux-artisanal, internet-y bullshit.

The label is best.

I had no idea ECM put stuff out on LP! Is that just for the German releases?

Been waiting a long time, can't wait to hear it.

On LP....?

Here is Ken Peplowski on John Carter from a Ted Panken BFT: " John Carter, “Encounter” (from “Comin’ On,” Hat Art, 1988) Carter, clarinet; Bobby Bradford, cornet; Don Preston, synthesizer; Richard Davis, bass; Andrew Cyrille, drums. PEPLOWSKI: I like this very much. The writing sounds a little bit influenced by Miles, and I love the use of electronics as pure sound sometimes instead of trying to imitate another instrument. It’s pretty refreshing. [PAUSE] John Carter. Guessed it. As soon as he started doing the upper register thing, I knew it was him. [PAUSE] As most stars as I can give, 5-6, whatever. This is very refreshing music to me. I think it’s completely not pretentious. It’s fresh, it’s exciting, interesting writing and playing, and the use of electronics is really well done and really integrated into the ensemble. It’s really great. [PAUSE] The thing that strikes me is that it really sounds like a band playing together. This is the way music is supposed to be. And John Carter is completely unbridled. It’s really open. I have a feeling that he does exactly what he wants to do, and he doesn’t have any limits to what he’s trying to achieve. It’s great. I think his music is as important, maybe more so, than Ornette’s music as far as this kind of thing. The writing is as interesting, and I just love the way they use the electronics. It’s really free and open, and yet at the same time it’s got a structure to it, and everybody is listening and reacting to each other. TP: Talk about his clarinet style. Is he an innovative clarinet player? PEPLOWSKI: He’s innovative in the sense that he does on the clarinet what people like Ornette and maybe Eric Dolphy did on the saxophone. He kind of plays completely free and open… You know, a lot of clarinet players sound a little bit too controlled. It’s part of the nature of the instrument. You’re taught from the beginning that you have to play with this rigid embouchure, and the ideal sound on the clarinet is this wooden, kind of round sound, and as soon as you start fluctuating from that, the tone kind of goes. The technique is a little bit difficult. So it’s refreshing to hear somebody that’s gone past some of those restrictions. The only way I can describe is he’s a completely open player, which on the clarinet is kind of rare to hear. .... The Bobby Bradford-John Carter was definitely the best thing I heard, because it’s the most refreshing. Frankly, sometimes I get bored just hearing the same things over and over. Sometimes you get the feeling that it’s all been played, and then you hear something like that, and you realize there’s life yet in music. It’s an eye-opener.

That does. Thanks Frank! I've enjoyed the single CD for years without knowing. Even more incentive to grab the Ed Blackwell box.

All sounds awesome. Good luck and Godspeed.

Good side, the highlight of which is "The Atomic Age", a brilliant duet with Ray McKinley.

Could this explain why it was re-released as a double? I could never understand that one.

I keep all my cardboard CDs on a separate self.

Yeah, those'll be nice to look at through the screen ... Pretty certain the Free Factory is a needledrop. Sounds pretty junky. Great album with a wonderful cover. It'd be nice to have it done justice.

Stopped in at a Salvation Army and turned up a Bud Freeman 10" on Allegro. Pretty beat up, but I'll give it a spin.

What about the Archie Shepp/Bill Dixon Quartet on Savoy? Has that ever been legitimately reissued on CD? Not that I know of.

I've said it before, but with the exception of Horowich's projects, Davidson has the best packaging in the business.

I'm not remotely versed in classical music, but I find her 1965 Chopin recital to be one of the most beautiful recordings I've ever heard.

Fantastic book with a very valuable CD.

One of the very first jazz CDs I ever bought was Brilliant Corners. It is an OJC edition, but doesn't have the standard OJC spine with the white notch on top-- it's all black; so is the back, and it doesn't have the white box with the blurb. Having initially never seen an OJC CD I thought nothing of it, but have since wondered what edition this is. And now I just received a copy of The Unique Thelonious Monk and it has the same-style spine and back. Anyone know what these are? I wondered if they were early OJCs or something, but I have a very early CD of Dolphy's Out There and that also has the regular design. Like I said, pointless but I've always wondered.

Very nice. There was also a recent On Point about Szwed's book.

Lots and lots of piano trios, esp. 50s vintage. (Not Ahmad though!)

Gus Janssen is awesome.

Des Moines!? Fucking kill me now. I hate my life.