mjazzg

Thanks. that's great news as it means I've a new 60s Bley to discover! edit: no I haven't, I have the later Red Record reissue of it titled "Ramblin' with Bley"

Agree about Mette. Saw her with PNL Large Unit and then with Noble/Edwards

Yeah that Radio Canada is great. I always thought the BYG was a reissue, it's not?

I very probably shall. Now really enjoying the Brandon Lopez from Steve's list

They are needle drops if that bothers you at all. Confirmed as such by the label. I haven't heard them so don't know how good a job they did I have OG Sirone and Lee may be tempted by the Malik

Listening to the There Be Monsters, definitely hitting the spot. Trombone and vibes is a favourite combination. Thanks for the tip. Purchased

Great thanks, I shall investigate. The Guy is kind of on my list to buy and I really enjoyed the previous release by that Rempis band. Any list with. Brice/Roberts in demands I listen to the rest, thank you for posting it May the Boxset Police never find out...

Pleased it had a positive outcome 🙂. I would be interested to know more about more of his output. Another thread perhaps

I wasn't at all suggesting that Johansson's considerable output was in any way an influence on ECM as a whole or even ECM-ish. I was suggesting that I think that his piano trio and particularly that album you refer to is an influence on many subsequent ECM trios, especially European ones, as per the point made about Bley's 'Ballads' album to which I was responding

Just this year's top five suggestions would be great if you could. I'd be very interested to see them. One other question, has Mary H's universally acclaimed double release affected her standing in improv world? Is she now the mainstream

I bought two of them. Plenty of names I know, the vast majority in fact,and have music by already. I'll investigate a couple of names that are new to me, thanks for the list. There's always been a mainstream that this kind of music exists in some kind of parallel relationship to. The improvised music scene most definitely has its own media darlings often lauded in achingly profound prose by this scenes tastemakers inWire et al, it's just a smaller pond. I'm comfortable straddling both camps these days and find serious music in both, which for me is an added advantage. Very happy to have Makaya McCraven following Joe McPhee and seeing Brotzmann and Doomcannon in the same month.

I've been lurking and a touch reluctant to jump into the conversation. Five years ago I was all over this thread and listened almost exclusively to the music that Steve so eloquently advocates for. I have CDs in the thousands to witness this. However, more recently I've become increasingly one of the board members that spike Steve's frustration and ire as I have moved away from buying the freer end of the spectrum. I'm not sure why but I think I hit a saturation point where I started to find it difficult to hear things I hadn't thought I'd heard before. I have followed the music long enough to know that there is a constant evolution and change, evident perhaps at different times at different speeds, but somehow I largely stopped being able to hear this. An explanation may be that I was increasingly unable to engage with this music in a live setting, still the best place to hear it I think. Not hearing it live perhaps led to a failure to stimulate more interest. I'm guessing. I bought perhaps ten titles this year that would fit snugly in this thread and enjoyed them all. (I bought many more that were over 40 years old and much more Jazz orientated). This gives me hope that I can still visit this thread happily and enjoy reading posts by Steve Reynolds, colinmce et al Here's to everyone enjoying whatever they listen to but also to progressive improvisors continuing to do their very important thing 😄

Picked that up a month or two ago and very pleased I did. Production values very high as you say. Music is great too

How have I missed this. It's usually my December treat...maybe over the holidays I'll get to listen

Saw him with the Iyer sextet perhaps four years ago now, his playing was a highlight. 'Turbulent Flow' was a favourite on release. I should revisit it.

My favourite Bley. I don't hear it's influence so strongly across other ECM piano trios, and I have a good few of them. I'd say Jan Johanson had a bigger influence.

Yes, Funboy 3 after he left The Specials then The Colourfield.

No! This is very sad indeed. The voiçe of so many great songs. The Specials arrived like a breath of fresh air, seemingly from nowhere and represented so much of what was, and still is, good about this country. Dammers may have been the musical genius underpinning it all but Hall was an essential part. His vocal delivery so original. the soundtrack to its time so accurately portraying the state of a nation and the legacy of political ideology

Enjoyed it, thanks for posting. Password prompt appeared as I hit your link in first post

Really? I saw Greizmann playing a floating 10 behind Giroud seemingly with the freedom to roam into whatever space he saw for instance left wing for that sumptuous cross to defeat England. The way Deschamps set up did require him to drop further into midfield especially against teams that pushed numbers through that area. He completed more tackles than he did in his previous guise supporting Benzema up top because he was tackling back. But France's DM was definitely Tchouaméni. He was the Kanté replacement in all their games, shielding the back four. Most of the time he was partnered by Rabiot which granted Greizmann his freedom. But maybe I read it wrong. Whatever his position he was a star if the tournament until the final where he faded. Lovely player.

Very pleased that he finally got to do this. Such a special footballer. A great final.

Interesting observations, thanks. Seems like it may have fallen victim to its ambition

How was this Steve? Sounded potentially fascinating. UK half wasn't in London sadly I'm thinking it would not have been similar to his Electro-Acoustic Ensemble

I don't go to Oto as much as I used to but do remember pre-pandemic how encouraged I was by the number of 30-somethings there were attending. It made me feel old but in a good way as I remembered how great it was to discover new music at that age myself. I do wonder whether Ms Mitchell is not Avant enough, or even not known enough, for a lot of the Oto crowd. I saw her there 4/5 years ago and no more than 20 turned up. Hope they'll be a good mix for Brotzmann in February The Vortex is interesting in the way it pulls in a younger crowd with its programme on younger, local players. Sometimes it seems it's all band mates in the audience

👍