alocispepraluger102

doesnt this belong in the classical music thread.? we ARE discussing sacred treasures. none of my lady friends could ever tolerate the stooges. are they just a 'man' thing?

should ladies then not choose circumspect fellows?

goldy digs the ives 4th, too! bravo! pbs did a live broadcast(or at least a live tape) of this piece many many years ago.

1 + 2 = 3? hell, i dont know. maybe it was lennies, or eka pekka's. hell, i dont know. i really love lennies. hearing his recording about 15 years ago really grabbed me and stayed with me for a long long time afterward.

it depends on the minute, the day, the year, the season, the mood, one's circumstances, one's age, even the time of day. today i bow toward(in no particular order): the bartok string quartets julliard 60's recording. shostakovich 8th string quartet borodin quartet ives 4th symphony stokowski mahler 3rd symphony bruno walter bartok concert for orchestra reiner-chicago

His playing with a pianist is great also - check out his duets with Hampton Hawes - As Long as There's Music - mentioned earlier in this thread. His duet album with Denny Zeitlin - Time Remembers One Time Once - is a good one too. beautiful. check out his duo recordings with chris anderson and marilyn crispell. his duets vinyl is magnificent. the selection with alice coltrane on harp, for turiyana, i have played at least a thousand times. i love his recording where he has added beautiful beautiful ballads by jo stafford, billie, and jeri southern. some of his most beautiful work is on one side only of jarret's arbour zena recording from the 70's. i am unsure on which album he sings beautifully 'poor wayfaring stranger.'

it's magnificent music, however it's described, and the whole set(6 discs) will soon be part of my collection. i also must find aylers wings and te deum.

Elaborate, please? listening to invention(1968), from that soul note disc for that time period with gaslini's big band, it, to me, has a bit of the feel of braxton's 1975(?)creative orchestra recording(though not as edgy). my muscal knowledge is less than 0, so feel free to chasten my uninformed ears. :rolleyes:

thank you! can one find it? there is a te deum that seems like my kind of music. has anyone heard that?

thank you!!!!!!!!!

anybody own or recommend this? http://www.ciao.se/Sacred_Concert_Jazz_Te_Deum__314448 didnt he anticipate braxton in certain ways? which recordings are recommended?

do we all agree that the classical forum should be the home page and must be read to get to the other forums?

OMG! thanks http://www.nytimes.com/2007/12/10/arts/mus...agewanted=print

how many tens of millions of dollars have been added to the economy because of the thousands of 'must-haves' we've learned about here(and spousal arguments about said purchases)?

beautifully written. you are without doubt a writer.

On purpose, I hope....... yeah. its fun being a kid again. threw some snowballs, too. was just watching a bjork video and she appeared to be on stay dancing around in snow. looked like the real stuff.

ice and snow cover most everything. fell twice in 2 days. took a 100 foot slide down a hill(in the snow) on my ass. great fun.

here's a little gift for you. http://www.youtube.com/watch?v=D5yHs9KJrxk what an asset to this forum you are. thanks.

Not my style, either. But, you might reconsider if you ever meet a "Boogaloo Sister"! (aren't you supposed to be in Ann Arbor tonight??) Couldn't make the gig, Skid. I should have added that although I don't flirt with women, my wife sometimes seems to think I do! I guess our pespectives are different. I still don't flirt! not even with blond damsels at the mall in new england patriot attire or organissimo shirts? a bit stuffy, eh?

the man can write, and he can see, and he can hear, and he can taste. could we, with these vast funds, hire him as a once a week columnist? it would be worth every penny!

http://www.ayler.org/albert/html/ayler_remembered.html Guy Kopelowicz The first time I heard Albert Ayler was when I purchased the 'Spiritual Unity' ESP album that came out in 1964. The music just enthralled me. By the time 'Bells' came out, I was a devoted Ayler fan. There was very little documentation on the new jazz scene in the French magazines (or elsewhere) around then. In the summer of 1965 I had a three-week holiday from my regular job and decided to head to New York for a look-see at the scene and eventually report all about it in the magazine Jazz Hot where I was publishing some articles. So in September of that year I was on my way to New York to explore the new music that was being produced there and listen to the musicians who were involved in the so-called October Revolution. Ayler was a focal point. A few hours after my arrival, I ran into Sonny Murray who was standing outside Slug's on the Lower East Side. Murray was helping there in the capacity of club bouncer. He had been offered the part-time job through Henry Grimes with whom he was sharing a flat. Grimes was playing at the club that night as part of the Charles Lloyd quartet. I asked Murray if he knew where I could meet Albert Ayler. Murray said that Ayler had been inside the club that evening but had left shortly before I walked in. Murray added that Ayler would be making a recording session soon and that this would be probably the only opportunity to hear Ayler during my three-week stay. The session was scheduled for September 23 at Judson Hall on West 57th Street opposite the Carnegie Hall. When I arrived there, most of the musicians were already there. Gary Peacock who travelled by train from Boston was the last one to arrive. While waiting for him to show up, Albert and Don Ayler and Charles Tyler rehearsed music in unison. The music they were playing turned out to be the French national anthem 'La Marseillaise'. For an instant, I was presumptuous enough to think it was a musical welcome for me. Albert Ayler was blowing and marching around the studio. The engineer stopped him to indicate how far he could move around the premises when the recording session would actually take place. Call Cobbs, a veteran musician who played piano with Johnny Hodges in 1954 when the Hodges band included John Coltrane, was in a corner getting acquainted with an electric harpsichord he would use for the tune 'Angel' which he played with Ayler and the rhythm section. There had been no previous rehearsal of the all new material. Soon after that, Gary Peacock arrived. The full band assembled for a quick soundcheck and at 4.30 pm the recording proceeding started. Two hours later, all the music for the album had been recorded. During the session, Albert Ayler gave quick indications to the musicians on the next tune, then the music was taped. Bernard Stollman who had stepped in before the session began and had asked Ayler and the musicians if everything was all right, went into the recording booth and stayed there throughout the session. I was also impressed by Sonny Murray's drumming. His set-up was as simple as could be imagined; one bass drum, one snare drum, one hi-hat and a single cymbal. He was using metal drumsticks that looked to be made out of aluminium. In addition to the musicians involved, present at the session were Stollman, the recording engineer, pianist Burton Greene and a photographer who turned out to be W. Eugene Smith, one of the greatest photographers of all time. I was awe-struck by Smith's presence. I was a novice photographer then and my equipment was even more minimal than Murray's drum kit. I had brought a camera to take some photos at the session. I had a simple reflex camera with the basic 50mm lens. Smith was equipped with four Mamiya reflex cameras. I talked to him before the session got underway. Smith couldn't be nicer after I mentioned how much I admired his photos and did everything to make me feel at ease. Then, the music came. I can't recall any equivalent to the impact of hearing Albert Ayler's music live. The full blast of his (and his players') sound just about shattered one's ears and had your mouth wide open in amazement. The impact was overwhelming. You loved it or you hated it. I loved it. The first tune which became the album title turned out to be a variation on 'La Marseillaise'. I couldn't believe what Ayler and his musicians played and was totally enthralled by its energy. No need to elaborate further on the music at that point, the ESP album speaks for itself. There were no second takes. 'It's always like that with Albert', Murray told me. When the tunes were done, the musicians went to the control booth to listen to the tapes. They seemed happy with the music. I talked at length with Albert Ayler at a party which was held at the Lafayette Street apartment of Dutch jazz fan Elisabeth Van Der Mei a few days after the session. Elisabeth had moved in from Holland in 1964 and was very much into the new music and had made friends with all the musicians. She was hired as assistant by Bernard Stollman shortly after the 'Spirits Rejoice' session. Ayler had a lot of memories of his stay - when he was in the Army - in Orleans, France in 1960 and had sojourned there for nearly two years. He also mentioned travelling to Paris to jam at clubs whenever he could. I was pretty familiar with that scene but I had missed his appearances since I was a conscript in the French Army in Algeria at that time. We had fun when we found out we had marched at the same Bastille Day parade in 1960. I did not remember there was a US Army unit at that parade but Ayler confirmed he was in that one and had marched down the Champs-Elysées. I had marched the same avenue during that parade with my French Army infantry regiment. Ayler was at the party with his brother Donald, Charles Tyler and the Cleveland trumpet player Norman Howard. Ayler told me he never rehearsed with his musicians. He said that he and the musicians around him felt the same things and that was enough. Albert Ayler was opening later in the week at Slug's and he invited me to the club but it turned out the opening night was to be held on the day I was to return to Paris. When the Ayler band played at the Paris Jazz Festival in 1966, I went to the hotel he and his band were staying to pick him up and head to the Salle Pleyel for the concert, which is out now on the HatArt release. There was a small problem before the musicians left the hotel because some of their luggage had not arrived in time. Albert Ayler was desperately looking for proper shoes to appear at the concert. He even asked me if I could loan him my shoes. It turned out they were too big for him. He however managed to get a decent pair. The Paris audience reaction to Ayler's music was interesting. The whole audience was stunned. A number of people could not stand the intensity of the music and booed but most of the audience just enjoyed it and Ayler and his musicians got a lot of applause. There were two concerts that evening. The first one is the one that is on records. The second which was held very late in the evening was sparsely attended. Cecil Taylor was at the concerts. He congratulated Ayler at length when they met after Ayler's appearance. Actress Catherine Deneuve also attended the concert. She was with her then companion British photographer David Bailey. When Ayler appeared at the 'Nuits de la Fondation Maeght' concerts in Saint-Paul de Vence, on the French Riviera, in late July 1970 I tried to go there but could not leave Paris because of work commitments. And when a few days after those concerts, Alain Corneau, a friend who turned later into one of the best-known French film directors, called me at work from Nice airport after the concerts to ask if I could rush to Orly airport to meet Ayler and his musicians to help them through the airport to catch their plane home, I had to tell him I just could not since I was in the middle of a very busy assignment. I felt terrible. Four months later, Ayler would be gone. (Guy Kopelowicz’s photo of the ‘Spirits Rejoice’ session is on the Band Photos page) ***

What incredible foresight!!!! MG having labatt brew guinness for north america was not great foresight, however.

http://www.belfasttelegraph.co.uk/news/loc...icle3226479.ece