Kreilly

Bad experience with Mr Mingus. I received notice that he sent me a PM at 10:19am and I paypaled him an hour and forty minutes later. That was the 28th and just now I get a pm telling me he sold it to someone else. I have bought well over 50 cds on this forum over the past two plus years and this is the first person to screw it up. Try to keep in mind that when you send a pm, the notification process may be circuitous before people are notified by email, that is why I included my personal email in my PM. Courtesy requires a reasonable amount of time to reply. I requested a total and his paypal address, I feel jerked around. He took the quick money from another buyer and did not follow proper courtesy. Let's see how long it takes to get my full refund. I will not do business with him again.

She has a forthcoming new release on Cryptogramophone with Mark Dresser and Matt Wilson. They are called Trio M and their first release is called "Big Picture".

If you still have it, I'll take the other one!

"Fellow Travelers"? If so, PM me your email and I'll send you a pdf. Kevin

Jackie McLean - Monuments. It's painful from start to finish.

Well, yeah. But he fits the other, non-literal meaning of "avant-garde". Guy Literally speaking, music is only avant-garde historically if it eventually becomes garde. So bebop was avant-garde but late Coltrane and Ayler were not. Right?

My wife has been coming out to shows with me since we saw Henry Threadgill perform outdoors in the MoMA sculpture garden a few years ago. That experience helped her to see the music as an aural equivalent to abstract expressionism. We've seen dozens of shows since then, and some she really enjoyed. She had trouble with Cecil Taylor solo but really enjoyed Brotzmann's latest trio. However, she would never put it on at home. So I listen with the door closed. No complaints here either.

Jackie is most definitely stretching the boundaries of hard bop on several of the BN recordings, most notably Destination Out and the recording with Ornette, New and Old Gospel. This is the standard view of Jackie. As Steve Huey writes in his review of 1962's "Let Freedom Ring" "Jackie McLean had always been a highly emotional soloist, so it makes sense that he was one of the first hard bop veterans to find a new voice in the burning intensity of jazz's emerging avant-garde. McLean had previously experimented with Coltrane's angular modes and scales and Ornette's concept of chordal freedom...." So, whatever label it is called, several of Jackie's blue note recordings are good recommendations for someone who has expressed an interest in exploring music beyond hard bop.

Try Jackie McLean's Let Freedom Ring and Destination Out. Even the earlier New Soil and Jackie's Bag begin to stretch the boundaries of hard bop. Do you like Mingus? He really helped open my ears to the outside stuff. Try some Dolphy (Out to Lunch) and even Roland Kirk's The Inflated Tear. And as someone already mentioned, Ornette's Atlantic recordings. I really struggled with the wildly outside stuff that a friend kept sending me (Brotzmann's Machine Gun). It sounded like noise and I couldn't tolerate it for more than a few minutes. Then George Bush was declared president by the supreme court and 9/11 happened. After that, what had previously sounded like ugly noise now sounded beautiful. It was almost an overnight change for me. Of course Mingus was a great foundation to have. Now, it's virtually all I listen to. Roscoe Mitchell, Henry Threadgill, and the downtown NY avant stuff like William Parker. The listening experience with improvisational and experimental music is so cathartic for me. I listen differently than I did before. I'm not trying to figure anything out, I just listen to the sounds. Sometimes it's not my cup of tea, sometimes it's like a drug. Last winter after a series of really bad 12 hour days at work, I was exhausted but pushed myself to make the hour+ drive (alone) to the Stone to see the prepared piano playing of Denman Maroney. I was in an irritable mood. I was familiar with his work from a duo recording with Mark Dresser (Duologues) but I had never heard him solo. He played for about an hour and ten minutes, the first 45 minutes he did not even strike a key but leaned inside the piano and manipulated the strings with various devices. I'd never imagined such sounds could be coaxed from a piano. Shrieks, howls, cries, and various clicks and whines that sounded almost human and sometimes a little scary. I was completely transfixed. The effect of striking the keys while bowls were spinning on the strings was stunning. It was over all too soon and I walked out into the cold night air feeling light as a feather. It was like I spent the day at a great art exhibit but compressed into little more than an hour.

I cannot recall the name of a band I saw perform at the Knitting Factory (in NY) with MeShell Ndegeocello on bass and David Torn on guitar. They went by a name that may have started with an "S". This was some time ago 7-10 years maybe. Any help? Kevin

The death of AJ would wrap up the series in a very dramatic way. It was foreshadowed in this last episode with AJ's suicidal depression and again when Tony reached for his gun as AJ was pulling up the driveway. The death of the son brings an end to the Sopranos. That's my hunch.

Is Bobby in the shower with Vito and Johnny Cakes? What was the jazz piece that ended episode 3? It's an Ellingtonian big band piece. It might be "Sing Sing Sing," I'm not sure. Kevin

That's it! Yes, it's the percussive sound. Thanks for the insight. Kevin

NEW CD RELEASE: Roscoe Mitchell "Composition/Improvisation Nos.1, 2, & 3" Roscoe Mitchell and Evan Parker handpicked the personnel of this 'Transatlantic Art Ensemble', a fascinating and historic coming together of players from the US and UK, including members of Mitchell's Note Factory group and Parker's Electro-Acoustic Ensemble. Recorded live in Munich, they premiere new pieces by Roscoe, making an epic journey through music of many changing - and surprising -moods, from lyrical episodes to plateaux of intensity. Roscoe Mitchell soprano saxophone Evan Parker tenor and soprano saxophones Anders Svanoe alto and baritone saxophones Corey Wilkes trumpet, flugelhorn John Rangecroft clarinet Neil Metcalfe flute Nils Bultmann viola Philipp Wachsmann violin Marcio Mattos cello Craig Taborn piano Jaribu Shahid double-bass Barry Guy double-bass Tanni Tabbal drums, percussion Paul Lytton drums, percussion http://www.ecmrecords.com/Catalogue/ECM/18...ainrubchooser=9

I'm only familiar with Tolliver's Blue Note recordings with Jackie MeLean. He seems much more reserved on Hill's latest. I know it's a stretch but influences may continue to accrue over the course of one's career. I was listening to the Lyons disc and I thought it sounded familiar in parts but it was only that I was hearing Time Lines in my head. It could be compositional. Perhaps they are simply superficial similarities and betray no influence.

This may be a stretch but I'm listening to disc one of the excellent Jimmy Lyons box set on Ayler Records and Raphe Malik's trumpet distinctly reminds me of Charles Tolliver's playing on the most recent Andrew Hill release, particularly the title track. Disc 1 was recorded in 1972 in Sam Rivers' loft. I checked Hill's discography and see no dates with Lyons. I wonder if Tolliver was influenced by Malik. Any ideas? Kevin

"Lullabies for Wolves" Beasts at Play I picked up this cd, Lullabies for Wolves, Sunday night direct from the artist and after listening last night and all day today I have to admit that I'm blown away. I have the forthcoming live David S. Ware Quartet cd but just cannot listen to anything other than"Lullabies for Wolves" right now. I was in town to see David Ware solo at the Stone and stopped by another venue just to grab this cd. The band, Beasts at Play, consists of Catherine Sikora on tenor and Ziv Ravitz on drums. It's a passionate, soulful cd reminiscent of Kidd Jordon's "Palm of Soul" release. Sikora's plaintive wail really grooves throughout. I highly recommend finding this but can't tell you where to go other than Catherine's myspace page which has a few songs posted for your listening pleasure. Easily my favorite release of 07 thus far. Kevin

Just saw him in December, spoke to him briefly. He was a warm and gracious man. I'm deeply saddened.

http://www.youtube.com/watch?v=2hiFfn0VzrE What is the "jazz" playing in Talladega Nights? Thanks, Kevin

Myra Melford at the Cornelia Street Cafe on the 15th! Would not miss it.

TOMPKINS SQUARE Presents: Thursday, January 4 Bern Nix Charles Gayle Peter Walker _________________ FOR IMMEDIATE RELEASE Friday, December 8, 2006 NATION'S MOST PRESTIGIOUS INDEPENDENT RECORD LABELS, ARTISTS TO CONVERGE AT NYC'S MOST UNIQUE PERFORMANCE SPACE FOR MONTH-LONG MUSIC FESTIVAL Event: "THE INDEPENDENTS" FESTIVAL Venue: ISSUE PROJECT ROOM Address: 400 Carroll Street, between Bond and Nevins; Brooklyn, NY 11231 Dates: JANUARY 4-28, 2007 Press inquiries: frontporchproductionsrg@gmail.com Website: www.quandros.com/gowanus and www.frontporchproductions.org (after Dec. 11) Directions: www.issueprojectroom.org/contact.html Start: 8:00 PM nightly (with some exceptions) Admission: $15 nightly Producers: FRONT PORCH PRODUCTIONS, ISSUE PROJECT ROOM Issue Project Room is New York City's most unique and distinctive performance space. Presented in cooperation with Tennessee-based Front Porch Productions, "THE INDEPENDENTS" is a mammoth music festival that will showcase over fifty artists from seven of this nation's most prestigious independent record labels. Throughout the month of January, New York will reverberate with the sounds of epic minimalism (Tony Conrad, Rhys Chatham, Phill Niblock, Leif Inge), ecstatic clangor (Thurston Moore, Lee Ranaldo, Zeena Parkins, Gamelan Son of Lion), raw Americana (Jack Rose, Loren Connors, Peter Walker, No Neck Blues Band), free improv (Charles Gayle, Paul Flaherty, Bern Nix) and avant songsmithing (Christina Carter, Richard Bishop, Badgerlore, Lichens). Featuring an amazing array of improvised, minimal and outsider musics, as well as full programs of film and video, "THE INDEPENDENTS" promises to be an event of epic proportions, in an intimate setting. ISSUE PROJECT ROOM and FRONT PORCH PRODUCTIONS Present "THE INDEPENDENTS" FESTIVAL JANUARY 4-28, 2007 Featuring showcases from the following independent record labels: TOMPKINS SQUARE XI POGUS LOCUST ECSTATIC PEACE FAMILY VINEYARD TABLE OF THE ELEMENTS

A new Bern Nix album is available exclusively via eMusic, and a free download is available at allaboutjazz.com. BERN NIX at eMusic : http://www.emusic.com/album/10949/10949964.html BERN NIX at Allaboutjazz.com http://www.allaboutjazz.com/php/jazzdownload.php?id=1707

I love that second picture from the cover of her unreleased "Narcoleptic Piano".

Dipped in Avant-Garde Turbulence or Psychedelic Fusion By NATE CHINEN Published: August 6, 2006 Art Ensemble of Chicago In some quarters the mere arrival of a new release by the Art Ensemble of Chicago is cause enough to stimulate spending. But “Non-Cognitive Aspects of the City: Live at Iridium” (Pi Recordings) might initially seem better suited to spark debate. It was recorded in spring 2004, only two months after the death of the ensemble’s original bassist, Malachi Favors Maghostut. The album captures one of the group’s first public appearances with Corey Wilkes, a hotshot conscripted to fill the shoes of another founding father, the trumpeter Lester Bowie. And it documents a six-night run that started shakily, in a club perilously close to the heart of Times Square, not exactly the ideal environment for avant-garde concert music. All qualifiers aside, though, it’s an excellent listen, turbulent and touching enough to withstand comparison with the band’s rarefied back catalog. Mr. Wilkes plays commandingly without channeling his precursor, a feat echoed by the bassist Jaribu Shahid. There are loosely swinging horn asides and rustling toy-instrument interludes, serene poetic utterances by the multireedist Joseph Jarman, and texture-oriented grooves from the drummer Famoudou Don Moye. The most galvanizing figure is the saxophonist, flutist and percussionist Roscoe Mitchell, who contributes all but one of the album’s brainy but warm-blooded compositions. New York Times- Sunday Edition - Arts & Leisure

It's $10 at the Stone. Depends on what kind of jazz you like. I saw Andrew Hill at Birdland with my wife. At the end of the night we spent $150. We've seen Henry Threadgill at the Jazz Gallery and spent a total of less than $50. Downtown tends to be less expensive. Avant stuff is generally less expensive. Roscoe Mitchell is playing at Merkin Hall in November sharing the bill with Connie Crothers. I bought two tickets, ten bucks each.