king ubu

Oh, I have, and I do dig! It's more like... baroque chamber music with flute (that's not crazily good, as it often will be -- even on recorder -- with the right people involved)

Don't know him, but I've had questions about my post since the second I hit "submit" -- it's really about context, I mean I love traditional jazz guitar, I enjoy plenty of rock and r & b (Jimi rulz!), I enjoy dealing with the likes of Fred Frith and other improvisers, but then to name one, Derek Bailey has an exceptionally beautiful (and natural, at that) sound ... there are others, John Russell, Pascal Marzan etc. etc. So it's about the setting/frame, and maybe even about the piece -- but the coupling of electric guitar and orchestra, based on what I heard, totally doesn't work for me (but I still found the two back-to-back performances of "Gruppen" - a few days ago at Lucerne Festival, with pieces by Messiaen and Nono in between, three concerts in quick sequence - a great experience ... I was just wondering "why?", and with the amazing Michiyo Yagi and her - amplified - koto still ringing in my head strongly, after two great concerts heard at Météo festival in Mulhouse in late August, I asked myself even more why Stockhausen, who was drawn to asian art, at least in parts, wouldn't have found a better solution ... maybe someone should do an improved version of "Gruppen" ) Other than that, I don't think there's an instrument I really dislike. Harpsichord, in the right hands (and with the right instrument*) is gorgeous (just heard Pierre Hantaï on Sunday, playing the "Musical Offering" with the Savall gang, and boy, his harpsichord sounded much more like an orchestra than the seven six other dudes together!) ... Flute, maybe -- at least I'm not on the lookout for flute sonatas and concertos and stuff, though I just found a new Bach disc that works like a charmer (Laura Pontecorvo/Rinaldo Alessandrini, >click<) ... and then there's the Varèse piece and more that's close to being a favourite, so there's that. Harp goes quite well with me these days, but it took me a while ... Dorothy Ashby must have been of big help - but I also heard some in concert, of course, either in richly orchestrated stuff by the likes of Holliger, Kurtág etc., or also in more traditionan orchestral settings, and once even in solo (a piece by Holliger, too). (Plus, there's Zeena Parkins!) -- *) though I am in the process of learning how to cope with the industry instruments that were played in earlier decades ... not there yet with Landowska, but working on Ruzickova and Walcha quite successfully, and Kirkpatrick is reat good!

Maybe electric guitar for me ... just heard its flat flat flat dead unresonating sound in Stockhausen's "Gruppen", where within all the breathing instruments it really seemed to be a very bad choice. He could have used a koto or something, but then I guess he wanted some of the "effects" (delay and such) that probably at the time he thought he needed a guitar for?) I have a similar reaction to the guitar in Schnittke's "Requiem" ... but I guess I need to listen to that again. On the other hand, I really do enjoy the Kairos disc "Sgorgo Y . N . oO" with music for guitar by Pierluigi Billone - but that's solo, so to my ears completely different.

interesting but I guess no point in repeating that on a release ... either way, capitalist came asked me "dude how much you willin' to pay"? I said "50€ max", he said "deal", so that was that, and I'm glad to have it

Got mine for about 50€ (ordered a couple of weeks ago at amazon.de) - first spin earlier today ... interesting for sure, but I'll need more time to sit down and listen while not doing anything else at the same time ... the quartet concert is indeed less than 80 minutes, so it is weird that on the CD version they split it up onto two discs, but I guess the price I got is quite alright with me, and the London concert is excellent for sure. Envious of all those that were there (and generally of all those that ever caught him live).

Rhoda Scott tonight! That's Ms Rhoda ... Scott! I hope they'll provide (or have paid for her bringing) her two Leslie's and she'll rock the house with her "Lady Quartet". Didn't enjoy the group's second disc as much as the first, but live is going to be different anyway.

@mikeweil Interesting ... like the album a lot, but I never gave the soloists much thought, just was aware of the mighty good bands. But yeah ... not that familiar with Pony Poindexter, but very familiar with Cannonball (I used to play an entire book of transcribed solos of his 20 years ago and still am very familiar with his pet-licks, phrasing, intonation and stuff). So indeed, the theme presentation in "Music in the Air" sounds like him, totally. The solo afterwards does not. And the intro fanfare has two saxophones, I am quite sure. "Pretty Strange": only one sax here, I think? Hard to tell, but I'd rather not opt for Cannonball indeed. "The Shouter": the first sax solo is by Jon Hendricks of course - the second again doesn't sound like Adderley - check the rocking phrasing in that 2:13 to 2:16 phrase. No way that's Cannonball. The (what's the tune again?) quote afterwards (2:23 to 2:29) and again the very fluid phrasing from 2:36 on could be Cannonball, but the entire thing: nope! Who's that riffing behind Nat, just Hendricks, guitar and one sax, or do we have two again here? "Social Call": again I think I hear only one sax in the backings of the opening theme? The solo again is clearly not Adderley - the licks thrown around here are pet licks, but not Cannonball's (and it sounds very much like the guy we just heard in the two tracks before, so there you go. "Out of the Past": This one I find kind of hard to tell, but as with "Pretty Strange" I'd rather go with Poindexter, too. And if you're sure about it, that pretty much seems to seal it.

alas, yeah ...

Oh, interesting - thanks @Daniel A!

I knew that ... I didn't spend enough time in there at my only visit, but I bought at least one more CD there (one of the Von Freeman discs on Nessa) - didn't have much money to spend, so it was a very dangerous place

Some of those sessions are floating around, luckily ... And then there's that mystery bootleg disc with more material from the same orbit:

I was in Vienna when Vol. 2 was released (Summer 2007 I think?), bought it at Red Octopus (was that the name of the shop?) -- he'd have played a gig then, too, but we missed it alas. Would have been great to see more Volumes, those sessions are mighty good.

Well, ABC bought Command in 1959 ... not sure how long they used the label or if it was divested again at a later time, but the line would go: ABC > MCA (aka the mob) > Universal (later UME).

Not sure how much you're into Booger, but if at all, you oughta get this: It was released in the 90s, while Weston was in the midst of his great series of releases on PolyGram/Verve/Gitanes in France (11 albums in as many years, rec. 1989-2000, if you include this, you got your dirty dozen ... there was a reissue also of "Tanjah" one of his very finest as well). I have played mostly Randy Weston since Saturday night, and revisiting many of his albums, from the 50s to the 10s, is just so rewarding. I don't think he ever made a bad album, hi earliest ones on Riverside may be a bit boring if you play them all in a row, but other than that, I love everything (and going through the discography on his stie - hopefully it's going to be maintained! -, I own but three of his releases, and have been provided a rip of one of those three ... even his CTI album isn't half bad, it's actually surprisingly good, though I'm sure with less streamlining it could have been totally great instead - but that wasn't what CTI was doing then).

My only sorta usable Weston pic ... 9 April 2014, at Moods, Zurich, listening to his duo partner Billy Harper - I didn't take out my cell phone that night really, but when Weston just sat there, in a contemplative mood, hearing Billy Harper's contribution to their low end theory, I just had to capture the moment. (And yeah, it's not quite in focus, that's because I was so moved by what was going on, dig?)

another earlier one:

I think that one is better than the one with Masekela ... he kinda jumped the bandwagon I guess.

Ordered. Don't have any previous releases of this material (other than what's in the JATP and/or "The Jazz Scene" sets).

"Kucheza Blues" by Parlan (with Booker Ervin!) is a favourite ... will need to check out a few others mentioned, but generally I don't feel much of a need for Weston covers--he covered the ground himself pretty well and pretty thoroughly

Oh no ... anyone knows if he actually played those concerts in Europe in May? I was in Padova (hearing Chicago London Underground) the night he was supposed to play some 20 or 25 kilometres away. Glad to have seen him in concert twice - once about 10 years back in fantastic shape with his trio (Blake/Clarke), the second time more recently in duo with Billy Harper. His music has become very, very dear to me over the years - much of it wasn't very easy to acquire (or cost a bit too much for my budget 20 years ago), but eventually, among other things, the whole run of his Gitanes/Verve/Universal France albums and much more has been collected.

Well, with the accent in the e, it's indeed and actually "Roe-Shay" -- Oops, that was from 2004? Sorry ... smartphone playing tricks on me ...

I'd be in I guess, though expectinga bit of a roller and coaster with some bumps to decorate ... This, too - Coral, 1967:

@mjazzg Did I mention how envious I am of you having been there? I can relate to not buying the disc ... I was at Lacy's late and totally wonderful solo concert in Zurich, later released on Intakt, and while I did buy the CD, I never listened to it (and I think I must have misplaced it by now ... kind of on purpose).

Well, in my case it relates to one concert experience, in 2016 I think, when he guested with Decoy (Hawkins on organ, Edwards and Steve Noble) in Italy ... that night, he channelled Coltrane for sure. I remember chatting with Noble about just that. I heard Parker several times (twice in duo with Guy, once with Guy's New Orchestra, several times with the Schlipp trio with both Lovens and Lytton, Globe Unity in Berlin last year, and the Decoy concert - that's probably it, not quite sure though), and I don't generally feel like that - but I feel like he's mellowed a bit in recent years and he's making even better use of his gorgeous tenor sound in teh course of it, going back to his jazz roots. @JSngry if you're staring to check out Parker for real, in addition to discs mentioned and other classics (i.e. "At the Vortex", "Saxophone Solos", "Topography of the Lungs", "Filu e Ferru" - all highly recommended), don't miss out on this, a fantastic sounding disc (thanks @Alexander Hawkins for the recommendation ): -- Oh, and the NoBusiness Parker/Guy/Lytton set from the Maya festival is amazing, too! Hate having missed out on this, when it took place 15 or 20 minutes by train from here!