coreymwamba

Thanks everyone! Perversely, when I listened to Air about 13 years ago, I didn't like it. But tastes change, so a re-listening is in order. I suspect that I prefer his newer stuff though. So I will be checking out Pi. Blast. Right then, I'll have to nab you when I next see you. Which I hope will be soon! I might have some news... That looks tasty... will be acquiring next week. Those videos are fantastic! I can't remember which one it was now... I think it may have been a PDF, but then again... But I have found an appraisal of the album I listened to: http://www.brooklynrail.org/2010/04/music/regarding-henry

Hello, After reading an inspirational interview on the artist, I listened to the sole album that was on Spotify [This Brings Us To, Vol. 1] and would like to hear/buy. Is there anyone who can recommend anything by Threadgill? Thanks in advance. C.

Hello, I've just seen that master pianist and improviser Pat Thomas is going to be doing a session and interview on Radio 3. http://www.bbc.co.uk/programmes/b00t1zh3 He's always been a huge influence and supportive ear for me certainly; and others on the British scene: but the media here have not given him the exposure that other players have received. So it's great that this is happening! It's on next Monday and will be available for a week in the UK. C.

Not altogether sure if this counts - but it's an archivist rather than a musician. Hugh Tracey founded the International Library of African Music in 1954, travelling the continent and recording all sorts of things. I've been listening to "Forgotten Sounds from Mozambique" and it's a fascinating document - so I will be looking for more...

Yes, I know what Horace's phrase "carpe diem" means. I have 6 long years of Latin (including reading Horace) behind me, back in the 1960s. I don't see what "carpe diem" ("enjoy the day") has got to do with recommending an album, though. If you read Horace you'd know the context of the quotation - essentially he says that one should enjoy the present without worrying about the future. Thus the original poster should buy the album without worrying whether they will dislike it. It's an encouragement.

Wow, really interesting. So is the basic sound very much like a tenor, or totally different? What's the range of it?

From a purely descriptive harmony basis - no, probably not C7(♭5) = c e f♯(= g♭) b♭ C7(♯4) = c e f♯ g b♭ which I see as distinct from C7(♯11) = c e g b♭ f♯ but from that weird mangle of functional and descriptive harmony perspective - i.e. chord/scale relationships, then I suspect yes, in which case both would be "spelled" c e f♯ b♭.

Unfortunately, Andrew Hill died in 2007. But there's lots of material to listen to! I think there was another thread that covered this: But my favourite is "Judgement" with Bobby Hutcherson and Elvin Jones. Happy listening!

Well. What I wrote here was nowhere near as blatantly offensive as the two PMs you've just sent me: totally unnecessary. It isn't that I don't respect your opinion - I just don't like your approach to other people's opinions in expressing your opinion. You can think what you like about Evan Parker - it's all valid, everything's in the ear of the listener - but there's no need to belittle people and constantly shout down others. I read the threads more than I post because I enjoy finding out about things on here - it's definitely a great place to find out information about music I love. But to be honest, it gets very wearying to read yet another thread that's hijacked by The Thoughts of AllenLowe.

Even if you've played with Evan and know him better than most of us [like Alex has], don't argue with Allen. He's not listening to you so there's no point. What started out as a discussion about a live show by a recognised heavyweight has ended up as a discussion about Allen's opinion. Just move on.

It is Samuel Dubois. OR's pan is made by a renegade pan maker called Aubrey - it's chromatic [which almost all other pans are not] and the guy was almost ostracised by the rest of the pan-making community for creating it! Talk about diablo in musica... I remember him showing it to me in January - it's a work of art. I've noticed you do Paypal... the album buying can now happen sooner...

Damn it, I need to get my copy. But Derby only has one record shop and I don't do credit cards! But will seek and find... good to see you getting the praise you deserve! C.

What do people think about the collectives that seem to have sprung up over the last couple of years? Namely F-IRE, the Loop Collective [of whom I know very little other than Jim Hart's in it] and LIMA?

Yep, I agree with that: my point was that being in a catatonic state couldn't be used as evidence of creative decline. General decline perhaps, but not specifically creative. And on listening to later playing of Monk's [especially solo, and the Black Lion trios], I'm not sure "creative decline" can be applied. But then as I said before, that's a listener's perception. And I also happen to think that putting all of those bits together make the musician more real; how can you gain an insight into the musician as a person if you don't hear the "failings" as well as the "high points"? I haven't heard any later Coleman Hawkins... I haven't heard enough, which is silly since I love listening to him; I may do a search on here for a thread...

Hello! I'm a vibist, dulcimer player and composer. This is a link to my site - a lovely self-coded beastie that looks good in web browsers nobody really uses, like Opera or Firefox. It gets updated regularly. You can also listen to all of my stuff at Last.fm. As most of the jazz stuff I do is live, you may not like the music on Last.fm... but that's the way it goes!

Yes, but catatonia isn't evidence of "creative decline". And it's the term "creative decline" that's I think is the issue. The catatonic state is more likely to be evidence of decline in Monk's general well-being though. Does that sound reasonable? I agree with that completely. I sometimes feel that there is an expectation from some listeners to hear a musician to have exactly the same idiosyncrasies, no matter what point he or she may be in life. But that point of view negates growth or change, which are elements of creativity.

I used to have a COWON iAudio X5, which was lovely; great microphone, nice range of formats [Ogg Vorbis and FLAC: most of my collection is in these formats]; easy-to-use looping function for practising tunes, and 30GB of space. But it got stolen, and I haven't got around to rerplacing it. And COWON don't make the x5 anymore. Does anyone have any recommendations for a replacement?

I realised in my last post I hadn't answered the question of the thread. My feeling is no, Monk's playing didn't decline, it just changed as he did [like I feel Shorter's sound has changed from when he was first recorded to now]. http://www.youtube.com/watch?v=8EywdPsnJxQ The question itself is curious: how does one measure the "decline"? If relative to his earlier playing, which aspects of his playing are supposed to have diminished? If the individual is still present in the sound, can one really say that the musician has declined, or that the listener just doesn't like that sound anymore?

Really?? I've never seen a copy, so I'd quite like to buy that, if it's going and it's not too much trouble... Would that be okay? C.

On Rouse: When does a lick stop being a lick and become "vocabulary", like for Coltrane or Parker? Or Monk, for that matter? I have to say that I do have a preference for Rouse over the other saxophonists Monk used, who to my ears sings through the melodies rather than negotiating each chord; I enjoy the fact that his language, which I think straddles swing and bop, fits so well with Monk's thematic approach. I'd have loved to have heard Rouse on Trinkle Tinkle [the only chance of that is on the Oliver Nelson date - yikes!] in a quartet context. Whenever anyone mentions Monk and technique, play them "Work" with Percy Heath and Art Blakey; that normally sorts them out. Monk's solo on that song left me spellbound the first time I heard it.