MomsMobley

Re: Ives, it's a motherfucking corporate abomination how his catalog has been treated. Check out what Columbia did in the 1960s and 70s and what's ever come out on CD even once, let alone well compiled once and then re- re- re- re- packaged for subsequent gens & collectors of packaging / "improved" mastering. That's just the most obvious-- but also the most important-- example, so one could in a relatively small package have access to Ives': symphonies, tone poems, string quartets, other chamber pieces, piano music, choral music, some (if not all) songs. One can get most (tho' not all) of that elsewhere and unbeknownst to many, one of the great contempo Ives programs was recorded for and released by German EMI under Ingo Metzmacher's "wand" Especially now with RCA / Columbia ("Sony") one, I'd argue their should also be a Samuel Barber box, even if that ends up confusing matters as "adagio" and "Knoxville Summer of 1915" lovers try to reconcile the piano sonata and James Joyce and other 'outre' references etc And that's just the monuments! We can talk about the Nonesuch and Albany and New Albion (Lou Harrison!) and Delos and Naxos labels (at their respective peaks) elsewhere. But what was once "obvious" and should be as both destination and starting point has been rendered needlessly "obscure" and diffuse... ** ** ** ya'll know Beroff's Prokofiev, Bartok and Messiaen (for starters) I'm sure...

idris muhammad exists ** ** ** **

Aeolian Haydn after Landon once ubiquitous now perhaps underrated ** **

Kalish Zukofsky EC Duo not in the box though the Double Concerto from the same album is Oppens Arditti good elsewhere

Sam Manning Lingam Vitae is on Volume 2

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1970 1972

piano piano sonata sonata murray mclachlan

carl-axel dominique yvonne loriod 'early bird'

bryant park 1969 important to know on numerous levels October 15? reprint of Village Voice announcement-- http://www.villagevoice.com/news/vietnam-1969-the-moratorium-movement-6669739

peter brotzmann heather leigh duo (>>> all "chicago ____ -tet recordings / performances combined but even if one enjoys those sounds, this still greater, brotz included.)

Sanborn takes off at 3:10 *** Conway Twitty a great performer & substive artist, one of the best ever to sustain mainstream career, wild that he was legit Phillies prospect before the Army got him

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i don't often have use for Phil Woods but Freda Payne, Walter Perkins, Hank Jones, Jim Hall... *** i nearly always have immense use for Frank Lowe, Billy Bang, Denis Charles, Donald Garrett

Smoker was great; not precisely (by any means) the white Lester Bowie but a similar range (St. Louis <----> Davenport) though Paul looking pop more likely to be 1920s than '80s / '90s. What's fellow Iowan Phil Haynes going to do now? All the Smoker Trio sides, Smoker / Golia (there might be live Smoker / Golia / Nels Cline / Mintz / Filiano tapes around) etc +++. Chuck, did you know Paul had serious heart troubles years ago and overcame them? https://www.urmc.rochester.edu/cardiology/patient-care/patient-stories/paul.aspx Hard to tell when he was 'off the scene' because I just figured he was teaching and NYC 'establishments' too ignorant &/or poor to bring him East.

re: Clare Fischer... this also perhaps the single best Prince side project album, though the first two Time, first Sheila E., large parts of later Mavis ++ are also very good or better. But I'd say this album, is inventive, hot and flawless within its bounds... jump ahead to 1 hr 45 min if you get impatient, dig the audience dancers brought on stage, imagine some brooding untucked shirt 'free' schmoe offering likewise... PHILLY!

do you know Matacic, Bayreuth '59?

Oh Craft is OK-- all of 1950s and 1960s recordings are at least that (most of his later ones too though sometimes there are issues with vocalists) and better conceived than many but I can't abide those sonorities except as a certain point in discography / performance practice. File with something like, I dunno... Hindemith's performing edition of L'Orfeo? I mistyped above btw, it's not Harnoncourt I on Teldec but rather Jurgen Jurgens that's of similar vintage / style as Harnoncourt's first St Matthew. Jurgens Vespers doesn't seem to be on youtube but here's his L'Orfeo from a few years later, give an idea of the soundworld-- *** *** there's a good Konrad Junghanel Vespers on Deutsch Harmonia Mundi but ultimately I found it too gentle or restrained, though not in an anemic (Parrott) or flashy yet po'faced way (Gardiner).

no no No No NO NO-- I strongly suggest you buy neither though Parrott does a # interesting things, one voice per part inc. Nigel Rogers. Gardiner had a chorus, yes, and they're good-- or at least 'impressive' in Handel and Purcell but... you can do much better. In Monteverdi he's a stiff, hyped by Limey press and overexposed by major label machine, Polygram in the U.S. back then. Of that era '80s / '90s Vespers, William Christie cond. Les Arts Florissants is highly recommended, likewise Gabriel Garrido cond. Ensemble Elyna, though I believe that's out of print at present. Jordi Savall and Rene Jacobs are reasonable third choices, I like it better than Herreweghe on Harmonia Mundi but both are a little too cool. 2000s you have Rinaldo Allesandrini-- I'd put that in top 3 all-time. Unless you're a scholar or buy vinyl for $1 disc (in which go crazy), avoid older versions except for Harnoncourt 1 on Teldec, not to be confused with the much more common later re-recording; like H's first St Matthew, for example, it's sometimes creaky but inspired. I'm passing over textual issues for now. Allesandrini Christie *** Garrido live

Sly & Richie Havens (namechecked at 8:10) both at Woodstock... *** Skim ahead to 2:00 if you don't wanna join the crowd

not as disparate as some might think, Prince articulate on Warner Brothers situ, one wishes Larry Graham had studied with Sonny before pulling Prince into ... ***

*** *** I don't think anyone least of all Prince would diminish-- or not mourn for-- Sly, not least because he hired Larry Graham, Rosie Gaines & Cynthia Robinson. Greg Tate made the point-- not sure how far I'd really take it but...-- that Sly and Prince both outsiders, or at least outside major black population centers... But what can you say about Sly musically after "Fresh" except sorry it happened that way? On the Mike Douglas Show, that's something else--

here's your chance, motherfucker, GO! different sides, same coin, vice versa or maybe the same sides, no matter-- if ya'll can't see / hear that...

fasstrack, thank you for your senstivity though I respectfully sugget, for starters, you read the interviews in that AAJ link that Uli posted (props especially to Craig Taborn.) ANY / every musician, all genres, ANY / every artist any medium has much to learn-- much to be in AWE about-- in Prince's career. I can understand how certain white people-- let's call it truthfully because I daresay you can't find ANY (credible) black artist who'd dismiss Prince-- pull up Mavis Staples' tribute last week for one example, funny she's saying how she was gonna be cool when first introduced to him (and think how many folks Mavis has known) & when it happened, she immediately broke, ooooh Prince!-- but look to yourself and your own limitations first. Miles was correct and that only a fraction of the story. Even 'mediocre' Prince is what? Oh, he only does 3-4-5 of the 7-8-9 things he can do extraordinarily well. Give Brotzmann or Sonic Youth (hah hah) twice Prince's budget and put them on any worldwide stage, see what they come up with. Ghost of D. Boon (& living, humble Mike Watt) would laugh at any suggestion they were superior or even equal to the prodigal talent, force, work ethic, restless invention of Prince. We gonna front on Maceo here too? And this a 'mere' live showpiece And while we're in a blues bag, which Prince didn't over pursue on record compared to the after-party live shows deep dark as (yet different from) any John Lee Hooker, any Bobby Bland, any James Brown or James Hendrix... that Prince virtuoso singer / arranger / producer / conceptualist no small factor, hah.

Please Steve, that's ridiculous; you're a better listening artist than that, don't play yourself like a 'thinking' ofay. And I know D. Boon very very well, who's to say what he could have done but at the point he passed, he was VASTLY more limited than Prince. As for Brotz, let's be generous and call him, I dunno, B.B. King-like in his respective scene (no matter how much he laudably mixes it up, 'free' platutides aside it's ultimately pretty schematic) tho' of course-- I'm sure Peter would agree-- B.B.'s travails as Southern black man of a vastly different order than even 'avant'- Euro, of which there was, if not wholly 'supportive', at least not Jim Crow oppressive etc. *** Anyone reading this who doubts Prince's SUPREME brilliance on pretty much ever damn level should check out Vernon Reid's twitter posts of the last week. Regardless what specific distinctions one makes-- & of course they are necessary-- seeing Duke, Miles, Mingus, Braxton, Prince as constellation of long(-ish) lived evolutionary BLACK (& human but always black) genius is the ONLY thing a properly listening / thinking person can do. Ya'll might not like it but please. *** *** NO! A step down from "Sign of The Times" & more diffuse than "The Black Album" but not pro forma-- which "Batman" would mostly be. This ain't "Automatic" (say) but it's doing plenty of great things-- follow the structure on this one-- and sure, you might prefer x, y, z elements elsewhere but there's nothing rote / un-inspired here-- quite the contrary, it's pretty damn courageous in less than obvious ways