ep1str0phy

Agreed on the above--especially the Harriott and Wheeler. Free those puppies (all Harriott is good Harriott, methinks.).

For the sake of discussion (and as it seems to pertain to the disc at hand)--I think it's fair to say that Braxton's methodologies are difficult to find in isolation. His approach come across (to me) as more 'modular' (employing different mechanisms as the whimsy strikes him) with a few central tenets (e.g., the diagrams) constantly reappearing. It is, perhaps, a lot more difficult to get a handle on all the methods and ideas running through Braxton's head over the course of a performance than it is to categorize any particular excerpt as purely improvised or not--on that level, anyway, I'd be interested in knowing just how many recorded performances Braxton has cut full-on blind (that is, with zero preparation or preconditions). Even with Bailey, apparently--a master of pure improvisation--Braxton pre-arranged sound environments.

This is the first I've heard of this--RIP, Duke.

Seconded--the Rutherford-Parker-Braxton album is pure gold--some of the finest, most tasteful, telepathic free improv I've heard on record. -As for Forces In Motion--I haven't read more than excerpts. I'm modestly versed in several of Braxton's improvising mechanisms--enough to appreciate, I think, the formal beauty of much of his work. It's interesting that Braxton has succeeded in integrating free improvisation into his music in degrees (i.e., as a modular or perspectival complement to his other tools). It seems (nowadays, at least) that few artists can deal in freer settings without spiraling into idiomatic cliches (Bailey said so much in the Improvisation book, no? That free improv has become an idiom unto itself?).

New Charles Tolliver? HELL YES.

It would be nice to hear Braxton's (contemporary) viewpoint on free improvisation. Much of his writing--not to mention the available theory detailing his work--is fairly technical and, often, quite esoteric. I have no doubt that any misconception has much to do with the sparseness of Braxton literature (hardly surprising, though--it's as difficult to dissect as any modern improvisational ethos). There's no doubt, though, that Braxton is one of the great formalists of modern improv and, moreover (on a more limiting level) the so-called jazz 'avant-garde'; very much on the level of Cecil Taylor, Braxton's structurally complex, intellectual approach to liberated Western parameters and musical particulars represents as fully developed and individual an organizational conception as exists... well, anywhere. What's important to me, however, is that the conception never gets in the way of 'freedom'--and Braxton's is a liberated, free-wheeling music at heart. In finality, I'm most interested in how different approaches get different results--and precisely why Braxton might think a certain game plan could inhibit his (how you say?) 'free groove.'

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.