mjazzg

whilst we're all trying to help identify "Frank" (sorry Bev, no idea) what do people make of Music Improvisation Company on ECM? I've often thought to track it down but never got round to it

Glasper is a talent, I think. Maybe not premier league painist but his acoustic trio played a great gig in London recently - simplistically, think of a hip-hop generation Herbie Hancock - that's very simplistically. But the comprison also stands with Experiment, his 'electric' band which certainly has a Heahhunters influence. His new album develops his use of vocalists and has a host of guests from the neo-soul, hip-hop world - migt be interesting. Certainly check him out if you like a groove and a beat to your music. Sure, the 'jazz police' will sniff at his overt use of soul and hip-hop influence and some will say he aint Jazz at all. That's Ok with me but I'll disagree and continue to enjoy his approach

great photos all through the site. I'm particularly taken by the one of JL in the fireplace

there is a drummer on Snakeoil , it's alto/clarinet/piano/drums oops. must pay greater attention. Still intrigued but for different reasons now ....

Certainly Parker on ECM isn't only electro-acoustic - ref. David Ayers point above and also his trio recordings with Bley. Not forgetting that storming solo on the first track of Wheeler's Around 6 and other contributions to KW's works on the label. Interesting, I wonder what it is that makes you feel that about these electro-acoustic recordings? Do you have similar feelings about other EA recordings of his, I'm thinking PSI releases? do you find them less interesting in comparison to other EA composers/improvisors or in comparison to othe Evan Parker ensembles? I'm no expert in this field and I found that my initial exposure to Parker's EA ensemble opened a route into a new type of music - so maybe I've a soft spot for them. Certainly the live performance by this ensemble I witnessed was a musically and almost physically extraordinary experience. Maybe it is because I came into electro-acoustic music at the deep end of the swimming pool--AMM, Keith Rowe/Toshi Nakamura, Sachiko M, all the stuff on Erstwhile and other labels. Then later I listened to the Evan Parker recordings. They just didn't match my expectations. Maybe it's just that the label (Electro Acoustic Ensemble) is all wrong. That's interesting as it's the opposite journey to mine. I find myself just paddling in the shallow end of that swimming pool with some AMM but certainly not swimming yet. I can see how our two journeys would lead to very different responses to the same Ensemble.

Certainly Parker on ECM isn't only electro-acoustic - ref. David Ayers point above and also his trio recordings with Bley. Not forgetting that storming solo on the first track of Wheeler's Around 6 and other contributions to KW's works on the label. Interesting, I wonder what it is that makes you feel that about these electro-acoustic recordings? Do you have similar feelings about other EA recordings of his, I'm thinking PSI releases? do you find them less interesting in comparison to other EA composers/improvisors or in comparison to othe Evan Parker ensembles? I'm no expert in this field and I found that my initial exposure to Parker's EA ensemble opened a route into a new type of music - so maybe I've a soft spot for them. Certainly the live performance by this ensemble I witnessed was a musically and almost physically extraordinary experience.

Just listening to Boustrophedon for a second time since this thread brought it back to my attention. what's struck me this time is how the dynamic arc of the piece is not dissimilar to that I've heard Parker and colleagues create in trio settings. Obviously the larger forces deployed create a fuller and more 'orchestral' sound but the ebb and flow seems familiar The use of strings in this piece definitely call to mind Barry Guy's individual contributions in the trio. The structure of the consecutive pairings did at first lead me to hear this as a disconnected piece without an overall logic but I'm hearing something different now. As others have noted familiarisation may breed content on this one.

I'd agree with that analysis, Leeway. I've seen Berne maybe 10+ times (he seems to use London's Vortex as a regular pit stop) and have about 20 albums so count me as a fan. He does have a very distinctive musical signature and always presents thought-provoking combinations of players in his bands. What inttrigues me about Snakeoil is the return to a dual horn (albeit clarinets) frontline and also the lack of a drummer for what, I hear, as a very rhythmic writer (other drummer-less bands have had a piano IIRC). So it's a new palette for his writing - looking forward to what he makes of it

Karyobin is OOP on CD and fetches a hefty price these days. Now that I didn't realise. Too good to part with

and in London on March 14th. warm them up for us, Clifford

Oh, that's a very nice way to talk about our mothers, I must say

It's been mentioned in passing in another thread so let's give it free rein here. Well, I for one, am intrigued to hear this new Berne disc. I tend to investigate most of his releases and will be getting this soon, I hope. I'm anticipating something good from the interplay between Berne and Noriega in particular. As I understand things Berne's been prepping this line-up live fro some time as Los Topopos (sp?). Anyone seen them?

I'm not sure there's been any overt suppresion but there really has been a lot of digression (not in itself a bad thing). Witness the number of posts that actually address the music on the recordings in the original post.. I understand the sentiment of frustration that comes from attempting to generate a discussion about two significant artists and ending up with a discussion about a record label instead. That frustration may well lead to a decision not to start a thread about the music of another artist on the same label. How many posts in the new thread before someone chooses to comment on the label rather than the release? It's akin to the "how long before the grunting's mentioned" game in a Keith Jarrett thread, I, of course, have added to the digression with this post but excuse myself a little as I've posted with my reactions to Parker and Mitchell's recordings somewhere in the dark reaches of this thread

glad to hear that. Currently anticipating imminent purchase and March gig

I'm still buying Jazzwise, just. It manages to have some interesting interviews that keep me shelling out, e.g. Berne and Glasper in the current edition and Ornette recently. I do enjoy the writing of Kevin Le Gendre which can't be found elsewhere AFAIK. Review section increasingly redundant as they were always about info not opinion for me and I've now more often than not discovered about the recording online.

Two good early ones I'd suggest, Karyobin by Spontaneous Music Ensemble ( not sure of its availabilty) and Evan Parker's Topography of Lungs (available Psi records). btw. Company was less a group than a variety of groupings. Bailey annually invited/curated a wide variety of experimenters to come together and play in a variety of combinations. Many of these recorded on Incus.

It's that Vesala/Stanko winning team again, Clunky. (your Twet post last week IIRC) This one's escaped me so far but have fond memories of hearing a mates many years ago correct, Twet and this represent the sum total of my Vesala/Stanko holdings. I have Live at Remont on order though Balladyna on ECM is the only other one that comes to my mind (there's a couple of big bands, one on Vesala's Leo, I think). I didn't realse that Live at Remont was readily available (£80 on discogs at the moment) or have you tracked a rarity? Purple Sun, on Calig, is also a nice one. I didn't think that had Vesala on. Could well be wrong thogh as never seen a copy

Von Schlippenbach trio was a great testimony to 45 years playing and listening to each other. Vortex packed to the rafters - always good to see

It's that Vesala/Stanko winning team again, Clunky. (your Twet post last week IIRC) This one's escaped me so far but have fond memories of hearing a mates many years ago correct, Twet and this represent the sum total of my Vesala/Stanko holdings. I have Live at Remont on order though Balladyna on ECM is the only other one that comes to my mind (there's a couple of big bands, one on Vesala's Leo, I think). I didn't realse that Live at Remont was readily available (£80 on discogs at the moment) or have you tracked a rarity?

here goes...short and sweet "Epic three disc set from post-Zorn saxophonist with raw blues at its centre and a A-list left-field NYC band that features Marc Ribot, Roswell Rudd and Matthew Shipp" that's it. Scores 3 stars (out of five)

It's that Vesala/Stanko winning team again, Clunky. (your Twet post last week IIRC) This one's escaped me so far but have fond memories of hearing a mates many years ago

Well, I'm not an "art for art's sake" kind of listener. The historical and cultural context of the music I listen to is always important to me. As for Soviet jazz, I beg to differ. Some of the music that Leo put out in the 1980s in particular is wonderful stuff. Agree that many of those Leo releases were very interesting. How many of the artists involved would have identified themselves as creating "Soviet Jazz" would be interesting to know (not that we're ever likely to) How many identified themselves with the Soviet system rather than living and creating within it? Again perhaps a moot point. Interesting that Document, the eight CD box, is titled "New Music from Russia, the 80s", a presumably well-considered choice not to reference USSR or just a geographically accurate statement.

short taster here. http://www.guardian.co.uk/music/2012/jan/08/scott-heron-wonder-martin-luther-king Also some other connected GSH content on the Guardian site. Certainly going to be worth investigating

hope you're not suggesting there's anything wrong wth looking like an Islington socialist Bev? Sweepimg statements have derailed this thread enough already

This is a bit cryptic, but actually it was the British, who revolutionized Jazz in the late 1960s / early 1970s, the rest of the Continent followed, including the French, the Germans, the Dutch and the entire Eastern Europe behind the curtain (Iron or otherwise). Forged in the white heat of Harold Wilson's technological revolution, no doubt! Sure it wasn't forged in Harold Wilson's mac? Wasn't Mac the end of the 50s? Harold's Free Jazz Unit? now there's a thought The Winds of Change Quintet? First album 'You've Never Had It So Good'? ***************** Back to 'Boustrophedon' - give Furrow 6 a go if you want to dip your toe in. Quite thrilling. Really impressed with Craig Taborn on the record on this listen. Taborn. Very impressive generally, suggest his Thirsty Ear recordings, Try his solo on ECM from last year - a very good example of Eicher's 'poison'