ep1str0phy

Been thinking about getting this one--hopefully we get some good discussion later in the week... And yes, as long as this is up--It's nice to hear about the improv maps/game plan for this set (improv strategies are, of course, a whole other realm of study). Considering Braxton's aversion to totally free improvisation, as well as Bailey's taste for more spontaneous idea generation and improvisational momentum (even with the occasional structural foundation), they make for an interesting, if unlikely mix.

Also--saw Bobby Bradford's Mo'tet at LACMA on Friday (three sets--all free). A wonderfully nuanced performance--and for this sort of context, very ballsy (a lot of very free material--and not just in the Ornette vein). It's the Mo'tet of the last few years--Robert Miranda (bass), William Jeffrey (drums), Chuck Manning (sax), Don Preston (piano), Michael Vlatkovich (trombone), and Ken Rosser (guitar)--all the members play in other groups, but there are no wrinkles (i.e.--this is a unity). Extremely enjoyable and nice to see the LA crowd involved in the performance (the southland scene--where it exists--is rather conservative and very limited in scope--and opportunities).

Nice to see that the live group wound up in the studio. Looking forward to this one--a lot.

I saw the last two sets of the Jazz Bakery Sonny Fortune/Rashied Ali duo yesterday... one tune a set (well over an hour); second set was 'Love for Sale,' interestingly enough. I'm far too exhausted to do the full on analysis thing, but it was really, really fun. The two played great--an inside/outside, Coltranish sort of bag (redolent of the Coltrane/Jones duets--more so, strangely, than Interstellar Space), with Rashied at his most masterfully explosive and Sonny as articulate and energetic as I've ever heard him. The crowd was emphatic... and the musicians were very kind/grateful.

It took me far too long to get that...

Brill Building The Platters Eugene Record Eugene Chadbourne Frank Lowe Rashied Ali

I don't think there are any--just a little bit of mischief (well informed, apparently, by ill will). Regardless of Ra's sexual preference or the dyanmics of the Arkestra household, it's a helluva thing to get everyone at the level of tabloid hysteria. For that matter--any real information could at quite a bit to the understanding of the man's legacy (or, for that matter, the history of the 60's avant movement). It's nice to see, on the other hand, so many substantial and well considered comments in the wake of the youmustbe cherry bomb. Kudos, guys (no facetiousness).

i would rather hear roscoe in a solo or duo horn setting far more than anyone else, not to speak of his other settings. period. I think few modern saxophonists--hell, saxophonists period--have as substantial and refined an understanding of not only the mechanics of the instrument, but also its role in different instrumental contexts. Irrespective of the environs, Roscoe never loses the essence of his personality--or, for that matter, that restless 'urge' that marks many of the greatest in the music. He's a giant, no doubt.

As valid as all these questions are--historically, sociologically, musicologically--it's shocking how few posts have acknowledged the apparent snarkiness of youmustbe's comments (where is that guy?).

Philip Marlowe Linus Larabee Rick Blaine

Tones for Joan's Bones is a phenomenal record--the sort of combustible, hyperactive post-bop that flourished in the wake of free jazz and the early crest of fusion. For what it is, it's a prime example--and some of the tighest, most high-energy music Chick ever released. Excellent compositions, kick-ass arrangements, and phenomenal playing (Joe Chambers smokes on these late 60's albums). I only regret that the versions I've heard--all on CD--sound like they were recorded in fishbowls.

Got to say--I saw Costello with the Charles Mingus Orchestra, way back when he was just getting his lyrics to Hora Decubitus worked out. It was a pretty successful collaboration, and the band was on fire (a fine Haitian Fight Song, if I remember correctly--and they did a wild version of Costello's Chewing Gum). I picked up 'My Flame...' just to hear some of these lyrics set to wax--honestly, though, I thought the CM Orchestra arrangements were much, much better--no gloss, pure grime. I think Costello works best in more intimate environs, anyhow. Your mention of ...Detectives jolted some memories--we got the same sort of 'Bernstein-esque' treatment back at the Royce Hall concert.

If he is leading the large ensemble, there's always the possibility of new releases--seems like something he does, anyway. -But--he'll be showing up for the SF Jazz Festival pretty soon (I think that Nels Cline group is popping up, too). I'm very much there.

Miles smiles! (and a crocodile at that...)

Happy birthday, indeed. I'll see if I can listen in (may have to work the night away)... regardless: here's hoping for years and years more of light, love, and improvisation--our generation is still reeling in the shadows of the greats, Roscoe among them.

Pink Floyd Led Zeppelin Jethro Tull

As long as we're on Schoof (?!)--Is European Echoes worth picking up? The lineup is excellent, but I'm wondering what differentiates this from the dozens of others with similar personnel. It's making the rounds at a reasonable price...

It's pretty good for a boot, but I think a lot of cats would be pissed to find out that this was the real sound (especially considering how little we've heard from Ornette for a while)...

Frankly, I'd be interested in knowing what you did get.

Someone has to tally how many random message board threads have been devoted to these things... (still, though--that Auld cover is truly terrifying)

The MC5 Phil Ranelin Wendell Harrison

Joe is in excellent form, although--at the same time, and you may not care--this is some of Hill's most interesting writing in a relatively more accessible vein (i.e., the structures come across as marginally less oblique, and the swing is a lot straightforward). This is, for the most part, one of the closest things to a classic hard-bop blower Andrew has ever put out under his own name. Any way you cut it, the blues stuff lights a fire under everyone's asses--Joe, Freddie, Richard, Joe... the whole lot just f'in cuts. And I agree with brownie--Joe is as interesting as ever on his Andrew sides. That cat had some sick phrasing.

Kurt Cobain Rahsaan Roland Kirk Sonny Rollins

Not at all familiar with this material--thanks a bunch!

Yeah, I remember that. Nothing seems to have come of it, according to AMG at least. The few titles that were out several years ago are all I see. I thought Afrodisiaca was reissued, but no evidence here... Wow, is that several years already? The latest ones I saw in stores were all even more mainstream (Oscar Peterson, mainly, some with Ray Brown and/or Milt Jackson) than the earlier ones (Mangelsdorff, the Koller ones, Dauner, Jankowski etc.). Haven't heard of anything or seen any new ones since those. Same here--and a lot of my (most of the year) local record shops get new MPSs (e.g., the Clarke/Bolands). I'd be thrilled to see Afrodisiaca out, frankly--but all I see are piles upon piles of Peterson reissues.