B. Clugston

I always thought it sounded more like Megalon.

Any hockey fans here? My hometown Canucks aren’t going very far, though Roberto Luongo may steal them a win against Anaheim. Detroit vs. San Jose: San Jose had an inconsistent second half, while Detroit didn’t finish the season very strongly. Sharks looked great against the Predators, while Detroit’s first-round opponent belonged on a psychiatrist’s couch, not the ice. I think the Sharks will take it. Buffalo vs. New York Rangers: Buffalo manhandled the Rangers last night. I think New York will make this an interesting series yet. The Sabres have great goaltending and an incredible line-up, but they haven’t been all that impressive to date in the playoffs. Flip a coin. Ottawa vs. New Jersey: Nice to see the Sens pull off a win tonight. I think they’ll take the series, but it could take seven games.

I'm pretty sure a musette is also a double reed instrument. Yes it is, though there is also a French bagpipe that shares the same name. Captain Beefheart and Dewey Redman are among those who played the double-reeded musette. Ornette has also been credited with playing musette. I wonder if in fact he played only one or the other.

This is a nice enough album, but True Blue from a week later is the classic. I agree that Hubbard had a nice run as a leader at Blue Note. Blue Spirits is my favourite.

http://www.youtube.com/watch?v=GeBkoBvLe2s You'll be Glad you saw this.

I would be curious to hear the bass improv. Izenson had a solo bass piece that was supposed to be on the Town Hall concert on Blue Note, but wound up in condensed form on ESP.

Sad what's passing for news these days. If anyone has a hate on for Baldwin, I suggest they rent Team America.

I only got Along Came John within the past month. (I'm surprised they had let me on this forum for so long without owning a Patton record.) That title track is incredible. I just got This One's For Ja, which is also excellent. I'm thinking it's Mosaic Select time!

Sad news. Andrew Hill was a genius. He will leave a huge musical legacy.

That one's a gem. I too found it brand new, within the past two years. See elsewhere in this thread for info on the hidden track.

Joseph Jarman / Anthony Braxton Together Alone

From: http://www.ecmrecords.com/Background/Background_1872.php “Jazz is part of the whole picture, but the communication lines are all over the place now. If you’re truly in love with music, you can’t help being affected by that fact.” Roscoe Mitchell Roscoe Mitchell has been a restless explorer of forms, ideas and concepts for more than 40 years. In 1966 his album “Sound” (Delmark) brought a new dynamic into the music with its emphasis on texture and silences and group creativity. After the wild peaks of the energy music of Albert Ayler (whose huge sound Mitchell had first encountered while both musicians were stationed with the US army in Germany in 1960), Mitchell was redefining and re-channelling the intensities of free jazz… “Sound” was the first recorded message to emerge from the newly-formed AACM collective, Chicago’s Association for the Advancement of Creative Musicians, and it was an album that set directions for the shape of new jazz to come. In December 1966 the Roscoe Mitchell Art Ensemble was formed. When the group began to work in Europe in 1969 it became known as the Art Ensemble of Chicago. From the beginning, however, it was Mitchell’s wide-ranging musical vision that guided this polystylistic and enormously influential band. ECM produced some of the Art Ensemble’s key recordings of the 1970s and early 80s: “Nice Guys”, “Full Force”, “Urban Bushmen”, “The Third Decade”. In 2001 the group returned to the label for “Tribute To Lester”, and curated a “Selected Recordings” disc, a compilation of Art Ensemble material issued in 2002, its programme also including material by Mitchell’s Note Factory group, which had recorded for ECM in 1997. One of the most significant reedmen of the post-Coltrane era and a musician who has put the composer at the centre of a music primarily distinguished by improvisation, Roscoe Mitchell has also made his mark in the world of contemporary “classical” composition, with numerous works written for ensembles of all sizes; supported over the years with grants from organizations including the National Endowment for the Arts and France’s Institut de Recherche et Coordination Acoustique / Musique (IRCAM). Although his large discography is more heavily weighted toward ‘jazz’, Mitchell has the unusual distinction of being in the vanguard of two idioms. In November 2006, to give a recent instance, he premiered ”White Tiger Disguise” new music for string quartet and baritone voice, setting poetry of Daniel Moore, at New York’s Merkin Hall, to considerable acclaim. Much of Mitchell’s endeavour is in an area between the disciplines. “For myself“, he says, “I don’t call music anything but music.” When Munich’s Kulturreferat consulted ECM, back in 2003, about musicians appropriate for a symposium spotlighting improvisation as part of the compositional process, Mitchell was an obvious choice, along with his transatlantic contemporary Evan Parker. Mitchell and Parker were subsequently commissioned to prepare music for an ensemble assembled by the two of them, for concerts in Munich in September 2004. The present recording features nine scenes from Roscoe Mitchell’s “Composition/ Improvisation Nos. 1, 2 & 3”, heard here as an extended suite. (Of those scenes, Parts I, II, V, VI, VII, and IX derive from “Composition/Improvisation 2”, Parts VIII and IV from “Composition/Improvisation 1”, Part III from “Composition/Improvisation 3”). For decades "scored improvisations" have been amongst Mitchell's many means of lifting collective improvising beyond routine responses. While sections of his “Composition/Improvisation” pieces are fully notated, other sections offer a calibrated freedom extended variously to individual musicians, sub-groups of players, or the entire ensemble. Roscoe Mitchell: “For the symposium in Munich, I devised three methods of improvisation with composition. One method involved each player getting a part and also six cards with scored improvisation on them. One piece used a limited number of notes, and I asked the players to use only those notes for improvisation. And for the third piece, I asked players to select their information from the composition and construct improvisation based on that”. (Liner notes for “Composition/Improvisation Nos. 1, 2 and 3” give more details of the recording context. Additionally, original programme notes for the Munich concert can be found at www.unforeseen.de ). On the American side of the group, Corey Wilkes and Jaribu Shahid are currently also members of the Art Ensemble of Chicago. Wilkes, Shahid, and Tani Tabbal also play with several other Mitchell groups including his Quintet and his Note Factory band. Craig Taborn also is a member of the Note Factory and both Nils Bultmann and Anders Svanoe have guested with that group on occasion (as on the album “Song for My Sister”, (PI Recordings, 2002) Jaribu Shahid and Tani Tabbal have been associated with Mitchell for 25 years. Amongst their numerous individual credits, bassist and drummer have both played together with the Sun Ra Arkestra, with James Carter, with Geri Allen and others. Both appear on Mitchell’s 1997 ECM recording “Nine To Get Ready”, as does Craig Taborn. One of the most sought-after pianists in contemporary improvising, Taborn plays frequently with Tim Berne and Chris Potter, and can also be heard on David Torn’s new ECM album “Prezens” (release: April 2007). Corey Wilkes makes his ECM debut with “Composition/Improvisation Nos 1, 2 & 3”. An extravagantly gifted young musician, periodically given to playing trumpet and flugelhorn simultaneously (see Part VIII here), Wilkes was recently voted #1 New Star 2007 by the critics of Italy’s Musica Jazz. Evan Parker first recorded for ECM in 1970, when the label was less than a year old and is still a presence today with his Electro-Acoustic Ensemble (four albums so far: “Toward The Margins”, “Drawn Inward”, “Memory/Vision”, “The Eleventh Hour”). Philipp Wachsmann, Paul Lytton and Barry Guy have all appeared on Parker’s electro-acoustic discs. Flutist Neil Metcalfe is a member of Parker’s expanded Electro-Acoustic Chamber Orchestra which makes its debut at this year’s Huddersfield Festival (November 2007). At different times Neil Metcalfe, John Rangecroft, Barry Guy and Evan Parker were all members of John Stevens’s Spontaneous Music Ensemble, the flagship band of European free improvising. Barry Guy has recorded in diverse contexts for ECM including his own discs as composer (“Folio”, “Ceremony”), as guest with the Hilliard Ensemble (“A Hilliard Songbook”), and with John Potter’s Dowland Project (“In Darkness Let Me Dwell”, “Care-charming Sleep”; a third disc is in preparation for autumn 2007 release). And Philipp Wachsmann and Paul Lytton have recorded in duo for ECM (“Some Other Season”). “Composition/Improvisation Nos 1, 2 & 3” is released to coincide with Mitchell’s March 2007 tour with ensembles including Corey Wilkes, Jaribu Shahid, Tani Tabbal, and Craig Taborn. The Roscoe Mitchell Quintet plays the Bergamo Jazz Festival on March 9, followed by further festival appearances with the Note Factory in Austria and Germany. More details at www.ecmrecords.com/tours Further recordings with Roscoe Mitchell are in preparation. CD booklet includes photos by Caroline Forbes and a liner note by Steve Lake.

While I agree the Nazis were masters of propaganda and Speers and Goebbels had a warped brilliance, I always found "that the way the Nazis staged themselves" at times buffoonish, but mostly deeply disturbing, irregardless of the horrors the regime carried out.

I could.

I was in a music store on the weekend and amongst their massive piles of discount items was a copy of The Jones Brothers' Keepin' Up With the Jonses! I really miss this series. It was part of the golden age of reissues.

This is one instance where I wish the Andorrans would act. Is the entire concert circulating somewhere? And thanks, jazzshrink, for posting the concert program. That CD that circulated was pretty scant on personnel details.

The last digipack reissue I picked up was John Coltrane's terrific Interstellar Space, with Rashied Ali. It came out in 2000. That was the golden age of jazz reissues. With the labels overrun by suits and mergers, the days of scrumptious reissues are over.

District attorneys should not be elected. Prosecuting and upholding the law should not be an electoral popularity contest.

From the Miles Beyond site: "The problem remains the Miles Davis Estate, and mainly Miles's nephew, Vince Wilburn. A few weeks before the original release date last September he wanted the credits of Adam Holzman and Bob Belden changed from 'produced by' to 'compiled by.' Understandably, this was not something these two, or Sony, were happy about. Moreover, the Cellar Door set had been more than five years in the making, and Belden's and Holzman's involvement must have been clear for ages, so the timing of the demand reeked of a hidden agenda...." That explains the sticker on the credits page. Lots more here: http://www.miles-beyond.com/news.htm

I was quite happy with the K2s and was going to buy Quiet Kenny in that format, but found for $5 at a belly up sale. Sounds great to me, but has anyone heard both K2 and RVG on this one?

I like 801 Live, a band fronted by Phil Mazanera, but fairly dominated by Eno. Includes a few Eno songs, such as "Baby's on Fire" and "Sombre Reptiles."

Both Standards 4-CD sets are still available. Two years ago, Leo said that 23 Standards was sold out. Then a bunch of them were found sitting in a warehouse.

I like walnuts. I use them in pesto and salads. Lately, I’ve been getting into pecans. For munching and nut butters, I prefer almonds.

Metallica will be about as hip as Styx by the time this kid can talk. Kind of like if my parents named me Bill Haley.