ep1str0phy

(to avoid confusion: in response to "Bent Fabric") Cotton Mather Vladimir Lenin Leather Tuscadero

William Conrad Conrad Lester Lester Bangs Billy Bang Leroy Jenkins Michael White

Seconded. I've just brought myself to listen for different things (I mean, between "Dialogue" and the 70's stuff...).

That is a bit difficult to understand. What is the "fixation" in the case of the Bird-Diz recording. I'm not really versed in law, but if a *phonogram* is the actual physical *thing* containing the music (be it an acetate, a master tape or a CD or whatever), the actual acetates produced in 1945 and used by Uptown would not be liable for producer's rights in the EU, but the actual CDs published by Uptown (© 2005) would, right? Ethics are rather clear. Any lawyers in the room? F Edit because whatever I was talking about had nothing to do with the producer's particular situation (and is thusly not germane to the present conversation). Publication refers to registration with the proper authorities; unless those acetates were cleared later in the 40's (or whenever if the publication fell into the 50-year timeframe), the rights have expired. "Phonogram" is a somewhat anachronistic term--phono records are just "tangible copies of works that can be reproduced" (paraphrasing, of course).

(Just because it happens to be sitting on my desk)--I'm a fan of Mario Pavone's "Dancers Tales" (feat. Chapin on winds)... inside/outside with just the right touch of simmering mania. I'd call it Mingusesque--albeit in a very atypical way (not your usual blues affectations).

R.I.P. (traipsing into the ether) He will be missed.

Excellent choice. I'm more of an "Out There" man myself, but most (if not all) of Dolphy's Prestige sides are classic. I'd pay to hear the man play the phone book (and he probably could).

"Philly" Joe Jones Elvin Jones Quincy Jones

West coast, damn it.

Chewbacca the Wookie Robby the Robot E.T. (I'll get to real people soon--honest!)

James Gordon Bruce Wayne Dick Grayson

I keep hearing things about the Dixons, although they aren't exactly canon (sleeper classics, I guess). Next time I see one, I'll pick it up.

Y'know, I would have liked to have said something about this one, but I really know nothing about it. Anyone want to drop an overview?

Just 'cause we're talking Black Saint, I'll bring up John Carter's "Dauwhe." Just got it a couple of days ago--heavy, heavy stuff (I'm sure most of you are hip to it). Carter is a legend of modern clarinet--and what beautiful compositions! Top-flight in every respect. The band is a plus.

I own only "Metamusicians' Stomp," but it's a favorite--probably one of the best post-Ornette quartet records out there. The whole band just cooks--and it's always nice to hear Ted Daniels (one of the most underrated trumpet players in the "New Thing"). Few combos have found interesting, original things to do with the trumpet/reed/bass/drum format, but that Maono record will always be a beautiful exception.

I just had to share this pull... 'cause it's probably the single best 'group' of albums I've ever purchased: Roscoe Mitchell/L-R-G, The Maze, S II Examples Gary Burton: A Genuine Tong Funeral Dave Brubeck: All the Things We Are Don Cherry: Orient John Carter: Dauwhe Johnny Dyani Quartet: Angolian Cry They're all new to me and they're all beautiful.

I was sitting in about the fifth row center at Disney Hall. It was an AMAZING concert. After so many years Ornette was STILL able to THRILL 1/3 of the audience, CONFUSE another third and UPSET the remaining third. I'll bet 300 people walked out!! --including the couple next to me who I overheard say something like "just a buch of damn noise." I was COMPLETELY enthralled from the first note. I would LOVE to hear this band on record!!!! Ha! You noticed the walkouts, too? Ornette is staying relevant, he is.

Trying to come to terms with a "real" point is sort of antithetical to a thread like this. Again, idle dreaming for consumer/aesthetic interest. If the "Conference of the Birds" group recorded a new joint tomorrow, I'd be in line to buy it (although that ensemble was never so cohesive as, say, the Coltrane quartet, these are consummate musicians we're talking about). You're right--there is no way to go back in time. I'm not sure anyone wants to--on a permanent level, anyway (I think one album/a couple of gigs is enough--which isn't, on some level, that far off from the BN-polygamy back in the day). And your contentions definitely hold for Mwandishi; judging from a number of Herbie's remarks, there's really nothing for that group to "say" anymore. This doesn't mean I wouldn't like to hear Hancock/Maupin/Henderson/Priester/Williams/Hart/Ndugu (etc.)... they just couldn't be "Mwandishi". Throw six or seven old friends into a room and tell me they won't have something to talk about. The McLean/Hutcherson/Moncur triumvirate has reunited several times over the years--with varying levels of musical "success," I imagine. There's obviously something to be said about these relationships, whether or not the music still has the "fire" or the "purpose" or the "timeliness"--these are people, friends, and artists, too... not just record grooves (eh, you get my point ).

Recording: McLean/Moncur/Hutcherson/Ridley/Haynes I'd say the "Dialogue" or "Components" Hutcherson bands, but Freddie's chops are on the outs... Then again, there's always this group (from New Africa): Moncur/Mitchell/Burrell/Silva/Cyrille -One of those groups that should have had a shelf life. C'mon, guys! -And does anyone know if Don Ayler still has his chops?

My favorite part was when Sam Rivers decked the Grouch: (Eugene Chadbourne talking:) "I saw Stanley Crouch get decked by Sam Rivers one time, that was a great experience, Sam Rivers laid him out cold right on the stage." - Rick Lopez' Sam Rivers Sessionography site Sam is badass. Then again... not saying that Crouch didn't deserve it, but Sam can't be proud of (partly) going down as the man who decked SC. Sam comes across as such an intelligent, beatific presence that it startles me to think that he was driven to such extremes. There's a difference between being an asshole and being a flat-out, sociopathic instigator--the latter of which must apply to Crouch. Regardless of his history, it is doubly evident that Stan-the-man is and has been making a conscious effort to alienate himself from the community of his youth--and in a wild, fatuous, irrational manner. At this point, it's like Crouch is taking pre-emptive measures to ensure first blood in a cycle of continuous rejection... and it'll just keep devolving. I hate to invoke the words, but I've seen few men who so completely typify the "nigga" mentality. Whatever his contributions to scholarship, that's a damn shame.

It is the two bass group! I only wish someone had recorded the LA concert from a couple of years back--Ornette was a little more plangent than usual, and the version of "Lonely Woman" (with Cohen, Falanga, and Charlie Haden on bass) was just heartbreaking). EDIT--Sound Grammar is an Ornette Coleman label. Looks like we really are getting a new record (it's about time).

Man, he's like a folk villain already. This is too much.

On AMG: New Album(?) I'm not sure if this is legit (it's not on Harmolodic)... but hey, let's stay hopeful. This would be Ornette's first recording with a 2-bass acoustic band since, what, the Izenzon/Haden days?

This is my favorite part: "Crouch likes to fight. He has punched and threatened some of those who cross him." Frankly, I don't think this guy is worth lambasting anymore. He long ago lapsed into the realm of caricature--and, seriously, most anti-Crouch comments have no recourse but dismissive vitriol. It's hard not to be polarized. How do you deal with this asshole? Let him have his tea parties with WM. Crazy-ass failed-avant-garde drummer.