colinmce

Just checking on something. So music from this 1955 recording comprised the B side of the Atlantic LP. As far as getting a complete reel of this performance my options are thus, no?: 1) 1981 Atlantic 2xLP Unreleased Performances - 13 tracks 2) Mosaic Set - ?? tracks (Discogs list Art Taylor on Disc 1 tracks 1-10 and Disc 2-10; not sure if that is all sourced from the Sing Sing tapes) 3) Illegal Gambit CD - 18 tracks The Mosaic is on my long-term wish list but not feasible today. I am about to grab the old 2xLP but am more curious than anything what the story is here.

You hit the motherlode! The Quest is an experience like no other.

I only listened once. Haven't been in the mood to put it on again, but I liked it. Low key, but intense.

In fact, I think that's the whole point. I doubt there will be much music altogether.

Quick fingers at work tonight!

Most pithily: Play with your ego, not your id. Much more complicated, of course.

I noticed this the other day and meant to post something here. I'm definitely going to grab it up soon.

Oh yeah!!

I caught them in Chicago, 2005 or 6. It was fantastic. Not much to see, so I just had my eyes closed most of the set.

Man, awesome. I've been looking forward to that one a lot.

His late Blue Notes are his best work IMO. Very much a case of going out on a high note.

Well, upon inspection Angles of Repose was recorded later (though released earlier, I think). Even so, it feels final, like a summation of everything.

Speaking of Joe Maneri, Going To Church​. Immense.

Evan Parker & Sylvie Courvoisier have a new on on Relative Pitch

A 10CD Mosaic is beyond my reach, but that Dial set sounds wonderful.

Any of the great George Russell Riverside LPs of the early 60s: Ezzthetics, Stratus Seekers, Stratusphunk.

This is very bizarre, but is clearly some sort of template and not to be believed in any way.

Wow... Glad, at least, that he is at peace. Thank you thank you thank you...

Everyone is right. Impossible to have too much of this band.

In Japan, but not in any domestic reissue programs.

I'm very pleased to see the wonderful Alison Bechdel on there, too.

As usual, I am a bit slow and the conversation has progressed, but even so: I was halfway feeling, or at least understanding, Leeway's critique of Karl's original post. But the most recent elaboration squared me fully with what Karl is intending to get at and I'm on board. Without sounding too blunt about it, I think Tony is being overly reactionary. I don't think Karl is arguing what you think he is, or with the force you're implying. I don't see the ethos of "white victimization" anywhere in that post that puts it on par with the "Crow-Jim"/Stan Kenton pity party of the 50s. The point he's making-- and Bill Dixon is a perfect locus-- is that critics, the vast majority of them white, have (as per usual) constructed an absolutist, essentialist narrative that paints black and white over gray. I get that this is touchy, uncomfortable territory, but no less than Dixon and Anthony Braxton have spoken at great length about this, and both have been truly victimized by these narratives. Both have different artistic as well as tempermental orientations, but Braxton has said outright that the important contributions of white musicians like Marsh and Giuffre were under-recognized, and that history was in effect distorted. It is, of course, very easy to backslide into a less-nuanced interpretation that comes closer to what Leeway is seeing, but I don't get that at all from what Karl wrote. But they very fact that these things happened is worth noting. And I don't think this has to take away from the incredibly real strain of Black Arts that runs through the 1960s NYC avant garde scene. But we have to make something of Paul Bley, Burton Greene, Joseph Scianni, David Izenon, Paul Motian, Michael Mantler, Barry Altschul, Steve Lacy, et al. Tony accuses Karl of trying to apply "white-out", but that suggests erasing Black artists in favor of white, putting the onus of innovation on white players rather than Black. This is not the same as simply taking them into account. We have to pay heed to Bill Dixon and Anthony Braxton on this point. In sum, I think the problem being addressed is, in the end, a typical and predictable failure by critics to give due dilligence to the full story, which is always complex, in favor of a simpler suggestion. This is, as far as I can tell, the thrust of what Karl is getting at. Once we stray from this path and get to the personal experiences of individual white artists, especially vis-a-vis black artists, then I think this whole conversation gets a little more muddled. Strike that-- infinitely more muddled. The personal is always political, so it's hard to separate the two-- just ask AB-- but it can be done to some degree as far as this conversation goes. So I'll leave it saying I agree wholeheartedly that the typical narrative of free jazz in the US from the 50s up to the mid/late-60s AACM era is sorely lacking. (Post AACM, into the advent of European Free is, IMO, a whole other book).

So many cheap Amiga LPs on Discogs that I want but they're always from the Czech Republic-- exorbitant shipping and convoluted payment requirements. Such a shame.

I don't know Fujii, but this one has come well-recommended on this board, so I'm excited to hear it.

Out of funds for now but this one is a first priority along with the new Adasiewicz.