mjazzg

Charles Tolliver - Paper Man [Arista Freedom]

Konstrukt/Marshall Allen - Live at Sant'Anna Arresi Jazz Festival [8mm Records]

Would he be the Tim Green that recorded with Dennis Gonzalez? If so, I enjoy his work on 'Hymn For The Perfect Heart Of A Pearl' and especially on 'Renegade Spirits'. So his name is heard across the Atlantic. RIP whether I knew his playing or not

Me too. Fine music but my LP's not been well cared for by a previous owner

Theo Jorgensmann Quartett - Straightout! [Europhon]

Pilz/Niebergall/Schmitt - Celeste [Trion]

John Stevens - No Fear [spotlite] w. Barry Guy, Trevor Watts

Just found out about a new Wadada Leo Smith on TUM soon, 'Great Lakes Suite' w. Threadgill, Lindberg, DeJohnette. I don't think it's been posted here already? http://www.tumrecords.com/041-2-the-great-lakes-suites sounds interesting to say the least (thanks to Justin V for posting it in the 'listening to' thread)

Having worked in KC for at least the last ten years I have to say the changes has been by and large an improvement. The only downside being I can't walk to Mole in my lunch break any more. At least my barber's still hanging in there

John Stevens - Touching On [View Records] w. Alan Holdsworth, Jeff Young, Ron Mathewson

Pharoah & The Underground - Primative Jupiter {Clean Feed} Chicago/Sao Paulo Underground feat. Pharoah Sanders

I couldn't agree more. I played that, Metamorphosis and Bush Baby last week. It reminded how good they each are. Of course Wadud's essential to the success of the first two

You're in for a good time with both of those

Great to hear the first person perspective. The "freedom to" aesthetic always struck me as a fundamentally post-60's thing. This is why we still need an analytical study of 70's jazz, as the blogosphere has been talking about for something like a decade now--the AACM, BAG, the downtown NY scene, the English free improvisers, the Blue Notes, etc. etc. were playing a very different and much more conceptually complicated music than the early wave free jazz musicians. It's interesting that the Blue Notes get slotted into free jazz on the one hand and European free improv on the other--the former is in respects the "last part" of the bebop continuum, which is why it's so tethered to bop's conceptual devices (theme-solos-theme, soloist/rhythm section divide, frequent presence of metered improvisation, and so on), and music that is categorized as EFI is often more involved in "total" improvisation than American free jazz. The members of the Blue Notes played some free jazz, played some EFI, but their music together is ultimately something else entirely. Of the handful of masters I've spent some time with, the musician whose aesthetic comes closest to absolute "freedom to" is Fred Frith. It wasn't until talking to Frith--at a time, incidentally, when I'd been consumed with listening to the Blue Notes and confronting my own issues as a composer--that I came to realize just how many different ideological camps so-called "creative" and/or "free" music encompasses. Part of Frith's pedagogy involves looking at the materials with which we construct an improvisation--why not play something tonal? Why not play something metered? (And any number of opposites thereon--it's a pretty contrarian philosophy, which is kind of fun.) Playing idiomatic material in a free improvisation still sounds to me like a pretty radical prospect, essentially because idiomatic material forcefully recontextualizes everything around it. The Blue Notes had such a strong shared language that they were able to create music that is simultaneously open to free association and deeply enmeshed in South African culture. I think it's still going to take some time for us to realize just how radical the Blue Notes were, and why we should be evaluating their music in the same hallowed tones we reserve for 60's Don Cherry, the Art Ensemble, and staggeringly few others. and it's posts like these two that make me glad I hang out around here. Insightful, articulate and thought provoking, thanks both. Keep them coming.

His contributions made the difference on so many albums I enjoy

here's another review of the Benefit gig http://www.londonjazznews.com/2014/08/report-kenny-wheeler-benefit-concert-at.html

Brotzmann/Drake/Hopkins - The Atlanta Concert [Okka] another Board inspired purchase. Thank you fellow Boardees for making me aware there were copies of this about. Hopkins is on fire

see you there if you make it Bev. My ticket's booked there's John Surman and Bergen Big Band at Kings Place in the evening. sadly can't do them both but wish I could

I hope that means mine's winging it's way across the Atlantic. You've certainly whetted my appetite

Charles Lloyd Quartet - Dream Weaver [Atlantic]

Albert Ayler Trio - Spiritual Unity [ESP] not an original but the recent 50th anniv reissue

It's a very good album indeed - Basso Continuo that is

That Dickerson's been sitting in my 'to buy' basket for far too long. I need to buy it - thanks for the reminder

Thanks from a very far flung fan of Sorey. I'll enjoy these. I agree it's a shame the Todd Neufeld & Thomas Morgan trio isn't there but mustn't grumble too much considering the riches that are there

How about a yak with no wheels?