ep1str0phy

Happy birthday--and yeah, hardly looks his age (nice to see the youthful energy is there, if wiser...).

Homes, Ornette was using this format in the 60's. It's still a mighty shame that the Ornette/Izenzon/Haden/Blackwell group never got a proper album in the can. I just hope the superlative is deserved.

Another reason (not the reason, mind you) I've always maintained for the dearth of pre-50's jazz on lists of this type regards the inception of the LP (and, on a similar level, close-to-album-length EPs)--which, however you look at it, changed the game for the proliferation of recorded jazz. It's both a matter of ethos (i.e., your average Classics album--or any sheer compilation, for that matter--is of a different aesthetic than your set of Blue Notes, Impulses, etc.--any record initially conceived of as an 'album') and accessibility (the lack of 'definitive,' unduplicated albums for important pre-LP artists) as well as generational disconnect and ignorance. My two cents, anyway.

That looks great, actually (wishing for dough).

So it's gonna happen then (not that I ever doubted, but)... the cover looks very Artists House (must be those florescent colors and that subdued, circa-70's font).

(Thanks for the heads up, guys) -It's strange though: the material is very hard to come by for such a historically important group. I have seen some of the IRMLs in store, but, outside of a BYG or two, MEV CDs are scarce. If anyone has any other sources, I'm sure the interest is there...

Alvin Curran on Leave the City (quoted in The Wire): "Oh my god, that's a false MEV. Those are some French kids who robbed the name. They were once with us, they were a bunch of hippies from Paris, they took the name and turned this thing out. It was horrible. It's a bunch of hippies playing flutes. Sorry about that. Ha! I was looking into that one, too (one of the few I could track down). Thanks for the reply, btw.

The BBC report said something about 'dominating' the orbit, too, which sounds a mite clearer (although the jokes are in that one, no doubt).

I'm psyched that the Schlippenbach sneaked its way on there (and yeah, this is a substantially more balanced list than we usually see--though it's got it's share of flaws. I mean, Zappa? Really?).

Maybe you just like red? (Although I've always been a fan of that Patton cover)

Also (off the top of my head): Rahsaan, solo Shepp, Kenny Dorham. He's fairly outward leaning--appears on the more 'progressive' dates of a lot of more boppish musicians. Marzette Watts' ESP and Savoy sessions, also Tchicai's Afrodisiaca (though he's one of many drummers there). Moses is one of my favorite drummers, for sure - also one of Max's, as he dedicated a piece to him that appears on The Long March. I like that Storyville is using the cover art from the International Polydor edition of NYCF v. 1 (albeit differently tinted). Yeah, the previous reissue was pretty garish--a thick, dated font with a half-orgasmic Shepp photo on the cover. Of all the pictures... I used to not be too fond of J.C.'s playing, if only because I always measured him by those live NCYF sessions (where the balance is horrible--completely swallows the subtlety of the approach, sounding like a disoriented marching band). He's been tremendous on everything else, though--and extremely versatile (Powell to--thanks for bringing it back up--those Watts sessions).

Someone here is bound to be in the know (although a lot of internet discographies are in the dark)--anyone have any opinions on the available CD issues of Musica Elettronica Viva material?

The extra tracks aren't quite as devastating as the basic album--they mainly lean toward the progressive Evans, sorta Hancockish vein--but they're well worth having and miles ahead of a lot of stuff from the era (not to mention the bulk of Corea's discography). There is a brilliant degree of tension to these recordings that's hard to ignore.

I'm a tremendous fan of this album--excellent compositions, fine improvising (by a cast of musicians too seldom heard from--some great stuff by the entire lot, including James Spaulding and the late Mr. John Hicks), and a tremendous sense of weight. Essentially all of Billy's discography is worth checking out; this material is of a high level (and has a lot of programmatic value), but I think some of his other work (particularly Sweet Space, recently reissued in a twofer and boasting killer personnel) is just as good--maybe even more enjoyable.

Also (off the top of my head): Rahsaan, solo Shepp, Kenny Dorham. He's fairly outward leaning--appears on the more 'progressive' dates of a lot of more boppish musicians.

Cate Blanchett Blanche Calloway Cab Calloway John Belushi Jerry Bergonzi Jack Bruce

Although I haven't had a chance to really dig into this album (heard but not owned), it comes across as some of the best Hill has ever recorded--in comparison, at least, to the Mosaic Select cuts (with similar personnel). Qamar is more fully integrated into this group than the ensembles on the boxed set, and never have I received a better sense of just how successfully Hill can juggle multiple percussionists. Heavy, heavy shit.

'TLB' was hot garbage & barely listenable. Amazing what hype can do for a record. However, I agree with you about ?uesto. The Roots, now there is a band that has put out consistently good to excellent albums. Can't wait for "Game Theory". With you on the Roots, but what's your beef with TLB? I've heard few with so violent response to the material... Anyway--on the Wynton thing; however it's spun, how/why did he agree to this? I'm looking forward to the album--not only as a fan of Outkast, but as a dabbler in jazz remixes/reworks in general. Massive train wreck potential, but at least we have two consistently challenging artists (whatever the appraisal) working with some prime material. If it blows, I guess we can all shut it up in the 'best left forgotten' closet.

My local record shop is getting a lot of limited edition OJCs in stock--maybe a reaction to the clearing out, I don't know. But I made some hay: Duane Tatro: Jazz for Moderns Walt Dickerson: A Sense of Direction Don Friedman Quartet feat. Attila Zoller: Dreams and Explorations Steve Lacy Quintet: Esteem Gallio/Voerkel/Frey: Tiegel Pierre Boulez: (Schoenberg) Die Gluckliche Hand; Variations, Op. 31; Verklarte Nacht -The Lacy and Tiegel are UMS releases and, apparently, not out yet (allmusic says the release date is mid-September). Both are excellent and well worth getting.

Well, the index # is the same--it's the same album. If there's a print-through problem, then it's generally inaudible; I only gave it a cursory (and probably distracted) spin today, and nothing really jumped out at me (besides--how severe are the LP problems? Other albums with this issue--Ornette's Soapsuds, Soapsuds comes to mind--the CD reissue, anyway--aren't so 'infected' as to be completely distracted).

It's the same band, but I'm unfamiliar with the Chemistry session. From what my research yields, it seems like the same thing. Anyone care to chime in?

Just (today) got a copy of Topography--haven't listened long enough to formulate a cohesive opinion, but I like what I hear (the transparency of the ensemble does the group considerable justice). I got a copy of Air Time, too (a new spin--but that one is hot, no doubt). -On the SME album: nice to hear someone else talk about it. The big band material is sort of plodding in spots, and the small group work veers toward the more conservative at times, but in its best spots (esp. the horn solos on the quintet sides), the music is brilliant.

Woody Woodpecker Gabriel Oak Robert Mapplethorpe

I'd go nuts if this and Ornette at 12 ever got out of the limbo they're presently in. Hopefully, Ornette's got some plans for this and other supposedly long-neglected material (I'm looking at you, possible future boxed set).

This one just announced to be released on Water. Hell Yes. Nice to see Water fanning out a bit.