mjazzg

count me in as excited by the McPhees and some other potential earlier Hats too. Thanks for posting the news

sounds great. I would love to see that band in London again. Meanwhile looking forward to her trio set with Evan Parker and John edwards later this week, can't wait.

in my late teens I was listening to a lot of Tom Waits (pre-Swordfishtrombone) and came to the realistaion that I wanted to hear some music akin to his backing band...I knew this was what people called 'Jazz' but had no other clue as where to start. Off I wnet to Southampton's Central Music Library and borrowed some Jazz LPs chosen solely on the cover photos! To this end I have to thank Ben Webster for looking cool in a hat and holding a saxophone for my first Jazz listening. From there it was the Berendt book and Miles, Coltrane and lots of Mingus, especially "at Monterey" which was an early purchase.

Alexandra Grimal Mark Hanslip Ingrid Laubrock

No. Though I didn't get Bartsch at first I've warmed to him; he's more flexible. I found the last Rypdal album trying because of the beats. And what I've heard of Nils Petter Molvaer hasn't inspired me. A personal foible - I'm not saying it's wrong. Agree about Rypdal. Also Arild Andersen's had some fairly clunky beats involved (on Vosabrygg, I think) and Weber's quite painful excursion on that live career retrospective release. I think the problem's not with the beats per se but with the seeming inability to choose collaborators that can use them effectively - I wonder whether that's a generational thing did you try the Food album from a couple of years ago? Some lovely Iain Ballamy playing over gentle electronic and non-electronic beats by one Norwegian and an Austrian. As for Bartsch. Even better live, I think

not a lot of danger coming across too much of that on ECM despite last year's remix release (really rather good if overlong). It slips in occasionally with a few of the Norwegians. I don't know....those Norwegians? modern devils aren't they?

not a lot of danger coming across too much of that on ECM despite last year's remix release (really rather good if overlong).

I'm going to print this out and file it! not before you copy, paste, save it, surely?

such a great groove throughout this one. and then...

which is precisely why I started the thread!

Not the best brother, for sure

Yes, it would have been nice if they had but the Kuhn/Wisteria thread suggests otherwise

As noted elsewhere it seems that any discussion of individual titles on this label is sidelined and often obscured by a general debate about the merits of this label.So here's a forum to discuss the label and not the individual releases per se. some regular debates seem to have been: Manfred Eicher - benign presence or overly-influential producer? The 'ECM sound' - ruins artists or offers them an alternative It used to release vital music but now simply releases safe ear-candy over to you....but remember it is only a record label

Yes, a shame isn't it and somewhat tiresome that recent threads about Berne's Snakeoil and the Parker/Mitchell ECM releases have all ended up as debates (?) about the nature of the label. Maybe it's time for a "ECM the label - your thoughts" thread? but then this post is guilty as charged.... I'm interested to hear more of folks' impressions of the Kuhn as it's not a release I'd necessarily gravitate towards

Matthew Shipp/Sabir Mateen duo. first time for Mateen so particularly interested, seen Shipp many times before but always produces in whichever combination

Same here! He's good. With his music, I see the piano as an expressive tool divorced somewhat from Tradition, but with energy and soul to spare. He's also a very nice person. Plays with Mike Watt (Minutemen)! Does being divorced somewhat from tradition mean that he (or any of these out cats) have to be subsidized in some way to make up for that? Can they stand on their own feet? Am I being too harsh? Q Exactly what are you writing about???? Perhaps I'm dense. Please explain yourself. Seems clear enough to me, but just for you ... if they are divorced from the tradition in jazz, it (perhaps) means that few people listen, so therefore they (the musicians) may be subsidized by public funds... It happens in Europe all the time. Whether it should happen is something else. It didn't happen in the past... It may not happen with these guys ... Q public funded arts - especially for jazz and improvised music but not exclusively, if only there was more of it in the UK

if anyone needs further persuasion, more well deserved praise, here http://freejazz-stef.blogspot.co.uk/2012/05/alexander-hawkins-all-there-ever-out.html

Yep - Jeb's over here in the UK at the moment! is he playing anywhere that you know of, Alex? I'd love to see any or all of that Octet play here in London. We need a 'Chicago Now' night or season....

I'm jealous! Just got a trio disc on Emanem with Veryan Weston, Hannah Marshall & Laubrock. Really looking forward to digging into it. Glad to hear this new Kris Davis album is worth the ducats. i'll be interested to hear what you make of that Emanem, if you have the time Clifford. It's hovering close to the top of my 'to buy' list

I didn't read the OP as that. Simply that the article was ostensibly about CT but in reality not enough was written about that artist. I read simple frustration with journalistic decisions. No mention by OP of genius status or otherwise that I can see or infer. And in my book (but maybe not other's) CT's well worth some column inches if only for me to learn more about an artist I respect but don't fully understand

thanks for posting this good news - made my day

and mine looks like this. BYG would love it on CD not least as my vinyl was so badly pressed off centre (BYG trait?) it was unplayable (seller did refund). Would love to hear what it really sounds like edit: to change ridiculously large image

I'll be dodging the paving stones as I listen to Mr Shipton who I find a considerably more listenable presenter than the last incumbent - finally I'll be able to enjoy the programme and not cringe at that "hell...lo"

Jackie Mac - flat, sharp or fabulous? Discuss

prolific indeed. I'll second the Mujician recommendation without hesitation - fantastic band. Then a lot will depend on what configurations you enjoy/dislike. PD can be heard probably in any combination from solo to big band and on most recordings will feature tenor and soprano Some of my favourites: Rylickolum [CIMP] w. Paul Rogers (you'll come across this fabulous bassist alot in the PD discography) and Kevin Norton Deep Whole [FMR - release a lot and varied sessions from PD, more available than the Duns] w paul Rogers and Mark Sanders Mumuksuta [Duns] - a sextet, 'spontaneous compositions' that are somewhat less high energy, utilising some very telling voicings across guitar, bass, flute, piano drums and saxes Bebop Stardust [Cuneiform] - Octet. great composition by PD. swings like hell Profound Sound trio [Porter] w Cyrille and Henry Grimes. yes, it sounds as good as it should. Live reording makes up in energy for any lack of clarity many more. Look out for duos/trios with guitarist Phillips Gibbs or pianist Evelyn Chang and if you have the chance, do see him live he's a force of nature but with a very unassuming manner, friendly and approachable. I'm rather partial to his pipes playing but can understand why others might shy away