ep1str0phy

Ah, you mean you have one of the ten copies still in possession. That album has flooded the used joints.

Yeah, doing some research for a thesis I came across a series of those Downbeat dual reveiws. Spiritual Unity was included with the 1st Giuseppi Logan ESP and that Byron Allen trio, and were all trashed (by Kenny Dorham, if I believe), although there were positive reviews of the same albums just a column over.

But Zappa is definitely dead. HEY-OH!

A flashpoint in an evolutionary sense, no doubt--but did it really rouse too much attention back in the day? (I've seen a fairly positive Downbeat review...) Maybe someone who was there can chime in.

Well, Ayler was a pretty major break and a large point of critical contention in 60's... Spiritual Unity, maybe? (but then, Ayler's impact was a lot more than just that album...)

Considering the sheer volume of albums I purchase/receive/track down in a week, I don't think I can pin anything particular down. For the past four or so months, though, it's been mainly Ayler and AACM folks.

If it isn't evident yet, not only are you eloquent, but you're also a quasi-saint.

Hey--thanks for pointing this one out. I'll be on the lookout.

Man, it's a favorites list. I'm just glad it isn't overstuffed with Rod Stewart albums. And bertrand--get the first three (at least) post haste!

If you like those, then you've got the check out the band with Bruce. It's documented virtually everywhere, and it smokes in a very prog/jazz-rock sense.

Yeah, that's my favorite segment of the album. Even if the structure is a little oblique, there's an intense emotional directness to it--something I've always loved about Cecil.

As both a Cecil fan and a musician, I can testify to the fact that "Ceora" has a bitch of a theme. On the reading thing--I remember a review of Cecil's set at the Thurston Moore's regular "All Tomorrow's Parties" musical get together that said that it takes an "astrophysicist" (or someone to that effect) to understand CT's whole bag... the literature can be helpful (and, though I have some problems with Jost's book--especially his Ayler chapter--I think it's as fine a readily available theoretical document as we have on that period of evolution), but if you can't get down with it on a basic level, there's something up. Cecil was a dance guy, after all, and Unit Structures (in its own way) "leaps" and "lopes" as hard as and hard bop.

He was a part of one of Jack Bruce's 80's combos with (Colosseum guitarist) Clem Clempson and Billy Cobham. That band had a penchant for the histrionic, but they were as fine a group of rock improvisers as was to be had in that era. That group was actually my introduction to Bruce, so Sancious's raging guitar/keyboard work is burned into my mind...

If this is the Perkins that king ubu refers to, then the Brotzmann duo qualifies as an autumnal recording; he died in 2004.

There's a confluence between the two phrases, for sure (and that's the eloquence of the "Great Black Music" thing--it's an encompassing phrase).

Does anyone know at what point the AACM adopted the "Great Black Music" title for the entire organization? By all accounts, it was an Art Ensemble thing first (the Tribute to Lester liners suggest that it came out of a conversation between Lester Bowie and Malachi Favors)--but it seems to have slipped, over time, into the rhetoric of the organization as a whole. Chuck? Anybody? Edit--also... I'd be interested in knowin the origins of the "ancient to the future" suffix (it wasn't always there as a qualifying phrase, was it? Who came up with it?)

So this isn't an LP rip--it's an actual remastering?! Nice to have it back in the catalog (enjoyed it since clifford introduced me to it...)

Ah--different rhythm sections, like Glass Bead Games. I would've loved to have heard them go neck and neck, though. On a side note--Cherry's really adept at these "insidish" contexts, where I've heard him. His personal ethos was just so strong that it's easy to forget about his versatility...

His favorite? Haven't heard this one (I've heard the "other" Jordan Strata-East sides), but the config., hot as it is, looks pretty atypical for a large scale Jordan date. Can't say I'm not fascinated, because some of those cats are a rare commodity together (Dorham and Cherry? Do they perform on the same track?).

I'm with you on that one, JS. What a beautiful legacy he leaves... RIP

This is the only "single" CD issue of Prophecy (readily) available: Prophecy It was in the 2002 batch of Caliber reissues, although why anyone would buy it over the twofer is beyond me (assuming they didn't already have Bells...)

Wouldn't doubt it.

Oh no, I got that, too. In spite of it all, I know there's a lot of shared love up in here.

I'll break up the "hate fest" [ ] and say that Patterns is > sliced bread.

Totally agree with you--and that's part of my concern with, if not this book in particular, than rather the idea that any sort of music that purports to be "free" (and, really, not just free jazz) can be successfully taught outside of the practical context. Not that the authors are making such claims (and it might be a helpful tool), but the usefulness seems particularly questionable with a music that--yes, is strongly communicative and contingent upon strong and flexible listening. I mean, once we dissolve all the other formalisms, all we've got is communication of sorts--and where's the academics in that?