ep1str0phy

At their worst, I think those sides are cheesy as all hell; when they come off, though, I think they're pretty galvanizing (like the Further Adventures... version of "Round Midnight"--which, getting past the more jarring elements, is a pretty powerful arrangement, IMO). Then again, I think the better sides from those sessions might be the small group recordings... (re: Monk + Dolphy)--indeed.

Robin Williams Steve Martin Bill Murray

Curtis Mayfield Graham Collier Andrew Hill

I actually found Mingus Mingus Mingus Mingus Mingus to be very disappointing. Of course, I bought it when I was heavily into the live Antibes album. And I don't think anything could have stacked up favorably to that one. Few, if any Mingus studio dates can touch Antibes, IMO. Dolphy is a man possessed.

You know, I wouldn't have caught that... but now that I have:

Man, you do have some time left on this planet, right?

In fact, I just added a brief endorsement to my (e-mail) sig. Hopefully someone will bite.

I'll tell my friends to go here for searches...

Organissimo has a very grassroots feel to me--one of the most thriving (and, if the threat of spamming is any indication, widely read) jazz BBSs online, springing up out of a pretty unlikely online outpost (which should not act as an opinion on the band--just that both Jazzcorner and AAJ are outgrowths of jazz information "hubs", whereas this space is a little out of the way). Maybe not bohemian, but definitely down home.

Do they have access/rights to the tape?

I am either boring, or have an ability to endure boredom which exceeds some other people's, because I think that AAJ is consistently interesting. Come to think of it, both of the above possibilites may be true. Yeah, nothing to denigrate your enjoyment of the spot--I think it's just managed to rub a few of us the wrong way (and that with reference to the board in my case, if not specific people). But it's Organissimo or either AAJ's generally unreceptive mindset or the gladiatorial massacre that is Jazzcorner, so I'm happy here...

That just sounds so dirty...

We've had lots of folks deal with this material recently, and the results haven't always been pretty. (though I enjoy the relatively straightforward, if extremely reverential, approach that Wadada's been taking with this material... fun, if not tremendous material). Liebman does seem fond of repertory work... (Just a note--got a copy of Drum Ode recently--which I hadn't heard before--then proceeded to freak my own ass out by pulling the LP out of the bag back cover first... that is one freaky looking photograph. They just shouldn't be that big.)

To be fair, the debate quickly devolved into whether or not Rahsaan was a valid flute player (I think)... after one too many attempts at defending relatively mainstream playing, I got tired of playing middle-left in a right-of-center field.

I can relate. I write stuff for the site, but the bulletin board is not my cup o' whiskey. Yeah. I've had good experiences with the staff I've communicated with (not too much in the way of editorial issues, although it may just be that I've been really in the box this whole time). I left the board, though, after someone argued with me for using the word flautist (that spelling).

So you've seen Tyondai live? After the samples, I'm pretty interested... And, so long as we're on the 2nd generation topic--what are y'all's thoughts on Djinji Brown? Heard some of his stuff--colorful, and subtle in its own way (Brown family subtlety? Or am I just hearing things?...).

Candy Dulfer Djinji Brown Tyondai Braxton

That seems to be common wisdom among collecting in general. An old friend told me pretty much the same thing when I started collecting music.

There still is a hip hop subculture that is alive and well. My son is a big fan of a group called dead prez, another group called Mr. Lif, and another called sa-rah they don't get much radio play because they are considered too radical in many commercial circles. Something is still alive out there I think.

On the Tyondai Braxton link above, there's an MP3 file that can be listened to. Didn't get through all of it, but on first encounter it sounds like some seriously hairy stuff. Good for him. His website actually has a couple of samples--the first one a pretty apocalyptic wall-of-sound affair, the second a jangly, guitar-laden sound collage. It's interesting stuff for what it is, and very interesting coming from a second generation avant musician who has approached progressive material from a different angle altogether. Perhaps it's for folks like us to discuss, as only the wikipedia entry seems to mention who his dad is (although the resemblance is strong enough, shirts and all)... those are family dynamics, though, and no business of mine (though I'd love to hear dad/son collaborate on something--seems like they'd fit together, granted some of A. Braxton's recent interests). Again, JS finds a way of articulating the intended sentiment (so consider me a fan of fortune cookie logic). On clifford's note--for the folks who are really uneducated, I'd like to consider just how much energy people want to put in in the first place (which of course is another serious concern in this field...).

Sage words again, JS, and it's important to be reminded in these conversations. I think it's crucial to point out that, at this historical juncture, education should not act as a substitute for self-discovery, as my finest and wisest have taught me... On what frankie said--I don't think that's true. I've felt a strong sense of political consciousness about the younger "free" players, although it is often articulated in diverse ways. I'll throw a name out there just so we have one--Jeff Parker. There are many more. Again, I'm not sure that it's more than a moot point to prescribe to the new generation habits and mores, although teaching history is another thing altogether, and examining the causes (always a scholarly purusit) is another. If the whole of the new generation is as astute as a lot of the avant kids--and lord knows that Tyondai is wearing sweaters like his dad does--then so much the better for "the spirit", if not these sounds were so accustomed to.

IIRC, I started lurking on here because my brief activity on the AAJ forum bored me out of my mind.

Man, I wish I could afford those import prices myself...

The same goes for Anthony Braxton's son. I haven't heard Braxton's son's music myself, but my son -- a member of the Chicago-based rock band Crush Kill Destroy http://www.crushkilldestroy.net/rock/ckd/ -- has and says that his stuff is excellent. That completely blows my mind. I'd certainly like to hear A. Braxton's perspective on that generational transformation, as I don't believe I've ever heard him articulate on the circumstances of youth culture.

Again, I would say that that cuts across racial lines, but I could be wrong. I am not a student of sociological research, or at least haven't done any w/r/t this music. Sorry, diidn't mean to imply that it's a phenomenon specific to the Af-Am youth. I'd say it's more specific to youth culture in general (and an extrapolation of the seedier parts of what used to be the hip-hop subculutre, amplified themselves into something grotesque).