mjazzg

yes indeed. Suspect it's another in the series of solos. Seems a while since the last, Absalom Dawe? or has there been naother (too lazy to check the ECM site)

Thanks Alex. I'll be tuning in tonight or on 'listen again' Glad to hear the Oto residency was a triumph. I was unhappy to miss sure a rare visit. I trust it was packed? Maybe it'll emerge on their label....

My suggestion will always be Jeanne Lee's Conspiracy. Never on CD. Stellar band including Sam Rivers, Gunther Hampel, Steve McCall amongst others. Great vocal performance and writing. I seem to remember someone saying that an attempt had been made to reissue in the past but to no avail. Jonathan - I'm looking forward to the Daley, having never heard the music but just been enthused by your and everyone's opinion.

very high on my "damn, I wish I could here that record" list and probably fairly high on the "wish it wasn't so expensive to buy" list too

No I didn't realise the DL was free with the vinyl either. Not until I read your other post in the 'now playing' thread did I think to check inthe relevant email account. Just DL'd it but so far holding on for the vinyl before listening - not sure why..... I think I'll try and make the launch gig. Saw the trio with Longberg-Holm and Paal NL the other week which was good but became truly astounding when Steve Noble was added for the second set

the art of multitracking.... always surprises and enchants. Followed by James Newton - Axum

For fans of PB here's news of a new vinyl/download release from Brotzmann that initiates a new label from one of London's best venues. Edwards/Noble - helluva rhythm section

Great to hear Tim Berne's own views here - welcome Tim! (....and on a thread I started!!) I'm more than ready to welcome this band to London, as I suspect are a number of the city's fans - there's usually been a packed house when TB and band have played at the Vortex over a number of years. The album will be worn out by the time I hear it live, it's that good.

absoutely. much fanfare in this household. Vesala can do little wrong in my book. A truly great drummer and bandleader. it should be noted that much of the later ECM material had a major input from Iro Haala that has only relatively recently been recognised. Sound and Fury - one of the best live bands I've heard, for sure. i can still hear them nearly twenty years on

Firstly, thanks for the insightful reviews, Leeway. I'm glad the gig was a good one and it whets my appetite. I find it very interesting to read this comparison between the live and studio experience especially as I'm having to await the live version. I really don't want to start the ECM 'good v. evil' debate again but having heard Berne talk about the opportunity to record this music in this way precisely because it is on ECM I can't quite agree with 'pernicious' which my dictionary defines as 'destructive or ruinous'. I believe that he's quite clear (In the Jason Crane interview) that he chose the music to sound as it does as a predetermined artistic decision because of the options that ECM afforded him. In fact he goes as far as to say that it doesn't sound like it would on screwgun precisely because he can't afford to prepare and record such a release on his own label. He's very complimentary about Eicher's influence too. Now, of course, none of this does nor should undermine your response to the recorded artefact - that's 'different ears, different views' as it always should be. And just because TB likes the end result doesn't mean any of us listeners should. I just hope I'm not disappointed in the live version because it's not ECM enough

no apology needed whatsover. Enjoy the show, i'm counting down to the London gigs

Are you trying to feed the flames??? Yes. Some great music on this disk though - much of it is about collective counterpoint, sometimes with the sax in a rhythm role. Long and hypnotic melodies. Given the direction the other thread took (and your complaints about it), I have to say that I'm flabbergasted that this would be your desire. I've been a huge fan of Berne's for years. I have probably about 99% of the discs he appears on. I have no doubt that the music contained on this upcoming disc will hold at least some interest for me. That being said, I almost always have to be in the "right" mood to listen to his stuff. No I was teasing. I am on the second time through now. It's a fantastic disc in terms of the group counterpoint, the whole group feeling, a real labour of love. All really well played-in. I should think he's delighted with it. Glad to hear it! I've spoken to Tim on the phone (to place orders for his Screwgun discs --- he lives local to me in Brooklyn), and believe me --- he's never delighted about anything I know what you mean! I've had several chats with him in the past, and then again there were times I steered clear. I'm supposed to see Berne Sunday at Bohemian Caverns. If he looks reasonably mellow (doubtful), I might try to sneak a question on this whole ECM thing. A prickly chap but I like him anyway. Leeway, he speaks at length about 'the ECM thing' in the Jason Crane interview I've posted earlier 2/14. Interesting how he describes the album's compositions and arrangements being directly influenced by the opportunity to record for a label that takes such care over production etc. It's an interesting listen if you can spare the time. And as the thread starter I'm pleased to have finally purchased the album and I'm thoroughly enjoyin the first listen - great to hear TB in a different setting

This one is a MUST. couldn't agree more. A total revelation when i (very belatedly) caught up with it. One of those few albums that I always find it very difficult to choose what to play next - it seems such a complete listening experience in some way that demands continued attention and consideration even after it's ended. Which might be a long-winded way of saying 'It's also just a damn good listen'. In the spirit of the thread I'll add a recommendation for the Psi release Psalms by Evan P and Sten Sandell - duet with church organ. Someway from Topography but a sumptuos recording of a fascinating dialogue. And an Emanem that may have slipped under radars. Riviere Composers' Pool - Kent Carter, Theo Jorgensmann, Albrecht Maurer and Etienne Rolin in a variety of combinations of bass, violin/viola and clarinets. Listen to these players coming together over a few improvised sessions in a couple of days. The final disc is the quartet concert. If you like your clarinet. with deep resonant bass (can't help but think Giuffre/Swallow '61) and strings added...no contest

in depth interview with Berne discussing creation of Snakeoil etc http://thejazzsession.com/2012/02/07/the-jazz-session-344-tim-berne/ (for those whodare - go to 30min mark for his opinions of recording for ECM including 'the sound', no mention of enforced photography though )

some interesting Berne (and others) on this http://marchannaford.bandcamp.com/album/ordinary-madness

Definitely pressed, seen a pile of them for sale. I haven't got a copy though

Hoping to make it to see Fieldwork - been on my 'to see' list for some time the rest? I can, and will, leave

My immediate thought was Eric Hobsbawn's series - Age of Revolution; Age of Capital; Age of Empire but then I saw your request for no political agenda (how possible is this, I wonder, either overt or otherwise, for any historian to achieve?) and Hobsbawn is a reknowned Marxist thinker so maybe not. Great read though, maybe a bit too European and not GB focussed enough . Hobsbawn was a Jazz critic with an intriguingly chosen pseudonym. see here http://en.wikipedia.org/wiki/Eric_Hobsbawm#Works So I'll defer to other board members both who have a professional interest in history (Robin Hood's neighbour?) and those that don't to come up with some better suggestions

No stupidity involved. I don't think there's a functioning website at the moment nor has there been for some time. I remember speaking with Hazel sometime ago and she was hopful that she'd found someone to rejuvenate it for her but that's obviously not come to fruition. Ogun's definitely a one-woman concern and I suspect there are other calls on Hazel's time. She's contactable via ogunrecords@googlemail.com and as stated above she's the most helpful of people. I second AH's recco of the Moholo/Wright disc and the latest Tippett Octet this list looks up to date http://www.efi.group.shef.ac.uk/labels/ogun/cogunc.html

I bought 'Trail of tears' after discovering the BYGs. First thing to say is that it's very different as you mght expect given the time lapse. I hear the album as a suite despite being recorded across three sessions, two years or so apart, by different bands. The 'french' session (5 of the 7 tracks) is predominantly very lyrical, slow-paced trumpet cushioned by fender/keyboards; Eberhard Weber-esque bass and minimal percussion. A dominant theme is developed with few variations across three tracks and I find its simplicity rather affecting. The trumpet playing is superb. Later the theme becomes less foregrounded and what sound like improvised passages emerge with piano/drums more prominent The US sessin has a line-up more akin to a BYG of old features on one, eleven minute track. A more acoustic sound, same slower tempo, freer approach, great drumming from Sunny Murray. Sits nicely in the whole Overall, I'd say give it a go if you enjoy Coursil's playing and writing just don't expect a BYG blow-out. It rewards attention and I find it suceeds in portraying its tragic message (forced migration) well. It was also dirt-cheap secondhand on Amazon

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.