B. Clugston

This is good news. I have a couple of titles on Braxton House, but missed a bunch of them when they first came out. Maybe he'll consider reprinting the back catalog as there is a lot of great music there. All 8 CDs are still in stock at Downtown Music Gallery.

Too bad they didn't restore the original concert order for 1943. "Koko," "Dirge," "Stomp" and "Are You Stickin'" were played after Black, Brown and Beige. Moving them made sense on LP, but easily fixed on CD. Another sign that JETman's suspicions about no new remastering may well be correct.

He's also on the Lenox School of Music concert bootleg.

It was White's second record date, after the sessions for Andrew Hill's Passing Ships Other way around. Bitches Brew was August; Passing Ships was November 1969.

Taiga puts out great-sounding records--one of the better vinyl labels out there. I got the multicoloured version of the MAP--it sounds superb, as is the music.

Great concert last night. They played for 90 minutes before a packed house launching off from Comp. 355. Will try and post more details at some point. The Sonic Genome project is tomorrow.

I'll be at both concerts.

Clearly Morrison was the little engine that could when it came to The Doors. His voice, but more so, his personna was what made that band tick. However, I wouldn't underestimate Robbie Krieger. He is a way more than adequate quitarist. Not to mention the fact that Light My Fire was his idea. Agree 100% on Bonham. Other than maybe Keith Moon, I can't think of anyone who was more important to the sound of his band. I agree with you on Krieger. I remember an old Rolling Stone Record Guide basically said Densmore was too laid back to kick out the jams and Manzarek sounded like he was fired from a cocktail lounge or words to that effect.

That makes more sense. I was wondering what they would have done for 30 minutes in that era? Benny suddenly goes altissimo followed by chanting?

Based on the song titles, it's probably some of the Who's Crazy? soundtrack with Moffett and Izenson.

It's tough for me to get out much these days, but the one concert I saw was a memorable one: the Ganelin Trio Priority with Petras Vysniauskas and Klaus Kugel. Despite maybe 40 people in the audience and the guy introducing them introduced them as the (original) Ganelin Trio with a couple of new members, which must have irked the musicians, it was one of the best concerts I've ever seen.

Karel Velebney had an album out on ESP.

If you have time during your stop in Galway, a visit to the Aran Islands is worthwhile.

I see Chuck's point--in some cases, Caine can be cute and clever and, much like an overplayed pop hit, it can grow old in a hurry. But the Mahler is always fascinating to go back to. And that Wagner is under-rated.

The last time I watched the Tonight Show Johnny Carson was host.

not to derail the thread, but if i'm gonna read some of these threads it's not possible for me to see something like this and not comment. that seems like a very flatly racist comment. what the fuck? all indian people act and feel arrogantly superior to everyone else? it's part of their culture? wow... i haven't heard his music yet so i can't comment there... I read this as "his culture" = New York culture.

He could have mentioned that jazz and metal frequently include bassists and drummers and sometimes they have pretty pictures on their album covers. What a simplistic article. "Jazz and metal are both diversifying at a fantastic rate, feeding on their old modes and languages, combining them and breaking them down." Old news. Jazz has been doing just that for more than 50 years and a lot of the metal innovations date back more than 20 years. What would have been interesting is if he mentioned how some aspects of jazz and metal are approaching minimalism and modern composers.

I really like Monoceros. At the Finger Palace is in a similar vein. Wish that would get a reissue.

Happy Birthday!

Looking good! I was having problems accessing certain topics before, but that problem is now gone.

Jim Gordon, Carl Palmer, Phil Collins in the 1970s. Roger Hawkins is a good one too. Some may snicker, but Corky Laing (Mountain) was often much more interesting than some of the material he had to work with.

Spotted a boo-boo. "Spiritual" has the contrabassoon; some versions of "India" have a tambura drone. Bushell played English horn on the latter. "The most extraordinary texture in Coltrane’s music may occur in a live version of India (itself a transformed blues originally called Mr. Knight) in which Coltrane plays soprano saxophone, Eric Dolphy plays bass clarinet, and Garvin Bushell, a man who played with Jelly Roll Morton, plays contra-bassoon drone."

There's excerpts from the book in the latest Point of Depature: http://www.pointofdeparture.org/PoD26/PoD2...ks_Braxton.html

There's an excerpt of the book in this month's Point of Departure: http://www.pointofdeparture.org/PoD26/PoD2...ks_Nichols.html Looks like a good one.

Such Sweet Thunder The Duke Ellington Carnegie Hall Concerts-January 1943 Money Jungle