ep1str0phy

Sounds like a great concert. Wish I had been there... Interesting to see MacDowell in the quartet configuration (I assume Cohen's out/taking a break...), and especially nice to see that Ornette's kept the door open on his collaboration(s) with Kuhn.

Yeah, man. It's all good. -_-

Other Folk... was pre-stroke, I believe. The post-stroke scortcher was Boogie-Woogie String Along For Real--now that's a miracle on wheels, if I've ever heard one. Oooooh make me--a pallet on the floor... (ooon the floor)

Nice one, Late. I love pre-Rahsaan Roland Kirk--I've always sworn by The Inflated Tear (featuring the rather underrated rhythm team of Steve Novosel and Jimmy Hopps--there in fine form), among other classics. The raw, greasy excitement of those early sides is what really grips me. Rahsaan was celestial, a man (in pseudo-Blues Brothers terms) "on a mission from the spirits"... Roland Kirk was sheer, unmitigated virtuosity, and--so much more--that rare breed of wildly entertaining genius. I wish we could bottle all that up and spray it on the neocons...

I know Braxton has always had problems with labels and notation--is this problem on all the pressings?

Which one are you on?

ECM has done a pretty good job in terms of the majority of the catalog being on CD and continually available. A lot of the earlier ECM catalogue, like Drum Ode and Afternoon of a Georgia Faun, is available, but only at jacked-up import prices. I had hoped that things were going to switch up after that first wave of reissues, but I'm still waiting... like, I'd love to see Divine Love on CD.

That one's been on CD, no?

I'm pretty sure I've seen some of the doc, but only bits and pieces (is some of it on youtube?). Regardless, excellent news. Intents and Purposes is one of those top-tier free dates that for whatever reason (availability, probably) never gets mention in the same breadth as your Ornettes, Taylors, Shepps, etc.

Why did Alan switch instruments? Perhaps he had something different to say on the trumpet that just wouldn't come out in the sax--i.e., he was "searching" for that "awkward" sound. From a sincere place and someone who can appreciate the position, best of luck, CT.

If it is in LA, all this goes to show just how many Angelenos don't really get around the city. I grew up in the area, and I doubt I'd know too many people who'd be able to tell me where that statue is located. I met Bradford (briefly) at a free concert at LACMA with his group (Don Preston was on piano, some representation from the Carter/Bradford bands). He's a really gracious, positive guy, even in light of the sheer crappiness of LA performance opportunities.

The dancer's name is Dergin Tokmak. Apparently, he's been in Cirque du Soleil: http://derginflies.org/home.html

Positive energy at work! (literally...)

Flea's first instrument was trumpet and he was a jazz prodigy. Even played with Diz if I remember correctly. Then he discovered Jimi and the rest is as they say... history. I dont think so. First instrument trumpet? Yeah. Prodigy who played with Diz? First I heard anything like that. In fact, in one of his instructional videos he says he cant even read music. Well, neither could Hendrix.

Color me impressed. Anyone know the name of the dancer?

I think I may be one of the few people on this planet to dig those vocal tunes. Too bad those "expanded" ensemble sides (heard in more traditional form on Broken Shadows) rarely get any discussion/play--they're every bit the success that Free Jazz is--probably more--IMO.

I don't know much about it either, other than it's CT's last official recording AFAIK. It's a great record, though, and quite hard to find. Seems it's out on CD! http://www.brambus.com/joemalinga/ Ithi Gqi - $14.95 Tracks: Umdrah African Mood No Net Tears Senecho Usizi Nina's Dance Jabula Kipit Asambheni For a time, Joe Malinga was the saxophone player at the side of Dollar Brand. This CD features a 70 minute long mixture of traditional Afro-Jazz and free form extemporization. Any idea where the additional tracks are coming from? Moderately off-topic, but I just found a cut-out copy of this one at Amoeba ($4.99. There was also a $4.99 CD copy of Alabama Feeling, so I guess the ripple effect from the blogosphere is already showing). Listening to it now, and I'm very impressed (maybe because I've been in a sort of SA bag, but...). This is one of the more diverse entries I've heard from the extended Jazz Epistles/Blue Notes axis--not exactly innovative, but stunningly played and extremely enjoyable. It's stylistically all over the map: mbaqanga, revved up, marabi-ish modal material (in the Johnny Dyani mode), some vaguely BYG-esque pan-Africanism, and many shades of Abdullah Ibrahim. Malinga is a uniquely engaging saxophonist--his mastery of freak-effects and a very malleable tone remind me of Dudu--and the band cooks... especially Thornton, who is phenomenally articulate and poised so late in the game (there's an alto/trombone duet that's enough to make your heart stop). Beautiful stuff.

I guess so. But why didn't he do a trial run with that hand held camera stuffed all up in his grill? That was the stupidest fucking thing I ever saw. That's all I needed was a nasty-assed close up of some dweebs face while he struts around singing about how fine he is and how his baby did him wrong. No thanks, give me an unprofessional street performer banging on tin cans any day. Looks like you watched the show more closely than I did. I guess I did, too, then. The hand held camera thing brought me more than a few moments of discomfort. One thing that did touch me was that--right in the middle of Ornette's presentation--someone shouted, "we love you Ornette!". Hell, it was probably Flea. Ornette eased over a pretty bashful reply, but there was certainly a look of bewilderment in his eyes. Next up at the Grammys: Cecil Taylor.

I have a Deluxe. Beautiful sound.

Seemed like a Chili Pepper pose as usual. Seriously, they couldn't have had Ornette play with them? No spontaneous magic in high paid rock anymore. Too many publicists and record execs to think about I guess. Naw man. Flea is a dyed-in-the-wool jazz fan (friend of a friend). That's sincere affection (it exists!), and not a grab for cred--and cred among who, anyway? Us? Who gives? We can be wary of mainstream intentions all we want--and we know a Grammy lifetime achievement award ain't gonna change shit--but a night of anomalous (and maybe even tokenistic--worse still, exploitative) mainstream recognition for an unseen innovator isn't the worst thing in the world. Maybe someone will be curious enough to listen to Free Jazz instead of Michael Buble for once.

Bill Conte Bill Cosby David Crosby

Thanks. Hemphill was/is a giant.

And here I thought I was the only person here who grew up with that band... Had the chance to see them when Siamese Dream came out. Didn't so I had to wait two years 'til the next big UK tour. You're a fan, yes? Yeah. That stuff was always piping through our family stereo system in the younger years. Those were the days...

Dear John, Dear Abby, Deer-in-headlights

"ANYWAY YOU WANT IT, THAT'S THE WAY YOU NEED IT. ANY WAY YOU WANT IT..."