Gary

Hey ! Shouldnt all talk of the noisy one be restricted to the humorous rodent thread ?

:D

Wow thats weird because I got half a Donald Byrd with mine!

Urban Bushmen. I've been listening to this tonight - a magnificent set.As good as any other AEC I've heard.

Is he? Can you link me to any information? There's a listing in this month's Jazzwise David. I'll post the dates on the board sometime during the weekend. It's with a 'UK RivBea' big band, comprising UK guys such as Tony Kofi and Ian Ballamy, sort of like the UK Andrew Hill Big Band of a couple of years ago. Off the top of my head there are dates scheduled in London, Southampton and Bath for sure.. Maybe there can be a meeting of the UK branch of the Organissimo members at the Southampton date ?? (I know of 2 board members with front row centre tickets )

http://www.clevescene.com/issues/2004-09-2...ml/1/index.html Ghost Story A Cleveland avant-jazz great raises hackles again. This time, from the grave. BY CARLO WOLFF feedback@clevescene.com Albert Ayler, a controversial saxophonist known for his startling, otherworldly music, is fanning the flames all over again. Some say the Cleveland native couldn't negotiate the changes and chords that any respectable jazz saxophonist ought to know. Others call him a pillar of avant-garde jazz tenor, along with the similarly divisive Ornette Coleman and John Coltrane, the most legitimized and commercial of this titanic trio. On October 5, Revenant Records will release Holy Ghost, a nine-CD box of Ayler material spanning from 1960, when he played in an Army band, to 1970, when he died at age 34; his body turned up that November, drowned, in Brooklyn's East River. Some say he was murdered, alluding to a drug habit that led to mounting debt. Others assert that he touched nothing harder than marijuana. While Ayler's death remains unexplained, his music is beginning to make sense, thanks largely to this remarkable set. Clearing Holy Ghost for release, however, hasn't been easy. "There are several contestants to the estate, and ultimately, all of them will get something out of this," says Ben Young, the set's primary researcher. For some of them, satisfaction might be a long time coming. Carrie Roundtree Lucas, who dated Albert in 1957 and had a son by him in 1958, says Revenant contacted her about the box, and "everything's OK." Their son, Curtis D. Roundtree, has ultimate authority over Holy Ghost, she says. But Arlene Ayler, who was married to Albert from 1964 until his death, hasn't even heard of the Revenant box. Though she says she's not party to Albert's estate, she claims that their daughter, Desiree, is. "I don't want a story put out on this," says Desiree, who receives royalties for her father's work on another label. "I'm going to call my lawyer. There's no story going to come out on this, when I didn't even give the permission for [Holy Ghost] to come out." Also likely to benefit from the boxed set's release are Ayler's father, Edward, who still lives in Warrensville Heights, and his brother, Don. Albert's trumpet foil in their groundbreaking groups of the mid-'60s, Don Ayler is a resident at Cleveland's Northcoast Behavioral Healthcare Center, pending a hearing on charges of gross sexual imposition and sexual battery stemming from an incident last November. Besides his surviving family, many musicians who played with Albert still live in greater Cleveland, among them Lloyd Pearson, a tenor man who led the R&B group the Counts of Rhythm with Albert in the '50s, when Albert was a golf star at John Adams High School and Lloyd was at East Tech. "Albert was a nice cat, a gentle person," says Pearson. "Everybody liked him. He went in the Army and came back with this new type of music. He came back playing a new horn, but he wasn't playing the regular, standard blues changes. He was playing him." Among the Holy Ghost recordings never before available commercially are two full discs of April 1966 concerts at the legendary Cleveland venue La Cave, featuring the Ayler brothers, Dutch violinist Michel Samson, drummer Ronald Shannon Jackson, and bassist Clyde Shy (aka Mutawef Shaheed), a high school classmate of Don Ayler's. Besides the music, each Revenant box contains a dogwood blossom (intended to enhance the set's "organic" feel), reproductions of posters of Ayler shows, tributes to Ayler from those turbulent times, and a hardbound book of more than 200 pages reflecting on the arc of Ayler's tempestuous career and mysterious life. The book is crammed with information about all of Ayler's known performances and recordings, considerations of his art by Amiri Baraka (formerly Leroi Jones; the black militant philosopher was among Ayler's earliest champions) and British journalist Val Wilmer, and reminiscences by a wide range of friends and acquaintances. Ernie Krivda, a Lakewood-based tenor saxophonist, jammed with Ayler in the early '60s at "105," a legendary strip on Euclid Avenue around East 105th Street. "At this particular time, guys are starting to do different stuff, and the 'new thing' is kind of at hand, so cats are experimenting," Krivda remembers. "Albert Ayler would come in and play, and it would be kind of upsetting to a lot of people. There's a sense of irony to this, because he wasn't the only one doing this, but something about his demeanor got him banned. The funny thing is, [early Ayler disciple] Frank Wright was also sitting in, and he was as 'out' as you could be, but they liked him. "The thing with these particular guys was, they fundamentally weren't real solid. Everybody tries to draw comparisons to the music of [Arnold] Schoenberg, [Anton] Webern, that kind of thing, but those people were fundamentally very sound. But it was an interesting time, and it did challenge the music, and there are things that were part of it and we could use." Accessible Ayler tunes, such as "Spirits Rejoice," "Our Prayer," and "Bells," seem to spring from a timeless well of marches, spirituals, gospel, even folk. Ayler was a marvelous, accessible melodist, as well as a challenging, exhausting improviser. That juxtaposition makes his music striking -- and much more aggressive than he was in person. "He and his brother were really, really friendly guys," says Jon Goldman, an aficionado of imaginative jazz. "In the '70s and '80s and '90s, you would read interviews with rock musicians who listed him among their influences, whereas he encountered a lot of hostility from mainstream jazz musicians." Wynton Marsalis, Goldman recalls, "admitted to me that despite the fact he'd never really even heard an Albert Ayler record, he still disparaged his approach to music." That approach and Ayler's complexity appeal to Dean Blackwood, who co-founded Revenant Records in 1996. His mission: to present "raw musics" in upscale, meticulously recorded and researched packages. The seven-CD, $150 Revenant box Screamin' the Blues: The Worlds of Charley Patton won three Grammy awards in 2003. The Ayler box, retailing for $100, is likely to win a Grammy or three of its own next year. "You've got this guy from a fairly conventional background -- he grew up in fairly comfortable circumstances, he was captain of the golf team in high school, and he played as a teenager in Little Walter's blues band -- and suddenly he decides to make a complete break with not only jazz convention, but really, musical conventions of pitch and form, to really break out on his own," Blackwood says. "While he had certain models in Coltrane and Ornette, they weren't necessarily musical blueprints; they were more like spiritual and moral models. His music sounds nothing like any of these guys. The kicker is, despite repeated and violent rejections at every turn, not only from audiences but from fellow musicians . . . this guy soldiered through." "At first, I couldn't understand it," Edward Ayler says of his son's music. "But later on, I really took to it, saw where he was coming from and that he was really exceptional, that the music was out of this world. I understood it then. I have never heard any music like that." clevescene.com | originally published: September 29, 2004

Although theres only a few hours to do so I would definitely recommend listening to latest Jazz on 3 . Some really good/ different arrangements - Greg Osby Quartet Recorded at Pizza Express, Dean Street London 20 th April 2004 Greg Osby - alto sax Megumi Yonezawa - Piano Matt brewer - Bass Damion Reid - Drums Artist Greg Osby Title Summertime Composer Gershwin Duration 11'54" Artist Greg Osby Title Jitterbug Waltz Composer Fats Waller Duration 11'37" Greg Osby Title Alligator Boogaloo Composer Lou Donaldson Duration 13'45" Artist Greg Osby Title East St Louis Toodle oo Composer Duke Ellington Duration 10'40" Artist Greg Osby Title Nekide Composer Osby Duration 3'23" http://www.bbc.co.uk/radio3/jazzon3/pip/mhgk1/

I've been playing this today (because of your post). Its a great CD. I quite like Don Aylers trumpet on this one it doesnt seem as repetative as he seems to be on other recordings (except for on Love Cry II perhaps).

Im no AEC expert but one I really enjoy is

Spirits rejoice was the first time I heard any Ayler & whenever I put it on I still remember the feeling I had that first time.

mine would be 1)Spirits Rejoice 2)Spiritual Unity 3)Vibrations 4)Copenhagen Tapes 5)Live in Greenwhich Village

Has there ever been a true democracy?

My copy has 8 tracks (both sets I think ) & totals 79:57. But the individual track times & listing arent the same as those listed here or on the Losin site Bottom Line, New York 1975 (Jazz Masters (G) JM 017/8) Title: Bottom Line, New York 1975 Label: Jazz Masters (G) JM 017/8 Number of Tracks: 9 Details: June 11, 1975 Note: Only tracks on which Davis is present (89:47) are displayed below. -------------------------------------------------------------------------------- Disc 1 Turnaroundphrase (M. Davis) 6:20 Tune in 5 (M. Davis) 4:05 Turnaroundphrase (M. Davis) 3:40 Turnaroundphrase/For Dave/Untitled original 750505 (M. Davis) 17:51 Untitled original 750505 (M. Davis) 4:35 Disc 2 Funk (M. Davis) [Prelude, part 1] 9:49 Funk/Ife (M. Davis) 18:23 Maiysha (M. Davis) 9:01 Right Off (M. Davis) 16:03 -------------------------------------------------------------------------------- Miles Davis (tpt, org); Sam Morrison (ss, ts, fl); Pete Cosey (g, perc); Reggie Lucas (g); Michael Henderson (el-b); Al Foster (d); James Mtume Foreman (cga, perc) -------------------------------------------------------------------------------- I playing it now theres quite a bit of hiss but the music is

They are on Saturday afternoons mainly. More Radio 3 jazz Jazz File Jazz Legends Jazz Line Up Jazz on 3 Jazz Record Requests (although I prefer Ubu's definition of greats)

Yes , its the original broadcast of that show that led me to start sniffing around the funny rat thread. A magnificent set. I have a minidisc at the ready every Friday night.

Close , but not quite Jazz on 3 Fridays 23:30 - 01:00 Jazz on 3 is BBC Radio 3's contemporary jazz show. Jez Nelson presents the pick of today's jazz recorded live in concert, talks to the leading players, reviews new CDs and revisits the tradition through in-depth features. Last On... Friday 10 September 2004 23:30 Jez Nelson introduces the cult Chicago saxophonist Ken Vandermark's School Days, plus highlights from free jazz godfather Evan Parker's US tour. Coming Up... Friday 17 September 2004 23:30 Jez Nelson presents a performance by Austrian guitarist Wolfgang Muthspiel and his trio, featuring superstar Brian Blade on drums. Plus a tribute to the great drummer John Stevens.

Ubu, dont forget to check out Jazz on 3 - its right up your street.

1970 was certainly a vintage year for Miles , I'm sure I could get lost for decades listening to the music Miles performed in that year alone! I can thoroughly recommend the date recorded at the Isle of Wight festival (Oh to be 20 years older). I think its about to be released on DVD.

Oh well each to their own , I think the short studio tracks (with Hermeto Pascal)have their own time & place & are probably not best suited in the middle of this CD, but when you do find the time & place they hit the spot for me. Track one Sivad is great , I do try & put this one on even when the wifes around so I can get away playing some jazz hoping not even she can resist it because its sooooo FUNKY Phenomenal is a good word for Its about Time . I do love the Filmore East / Black Beauty CDs also.

I received this date in a trade I did about 18 months ago , it may be from the same source but I'll check out the timings on my CD this evening & let you know.

A nice cover from the Losin site.

My favourite -

Mies form the 70s is my favorite Miles! I hope one day they will release the complete Live At Fillmore East recordings (my favorite Miles Davis disc - but with horrendous edits)... I think my favourite Miles from the seventies is Live/Evil , but its a tough choice . I've been playing this one today - some powerful playing by all .