king ubu

Oh, I understand ... the question is also if you generally enjoy the label's mainstays, as you're likely to get most of their releases. So if you're not into Irène Schweizer and Ingrid Laubrock for instance, I would not consider. (Also, I have a friend working there, and he knows a few possible candidates I dislike, so I guess I can take some influence if I see something on the upcoming page that may worry me )

No, it means you're being sent six new releases per year. They around twice as many, I guess (and you're not able to pick, though I guess you can actually reach out to them, which in my case is fairly easy as I see them at concerts every other month or so). The price they ask for in Switzerland is on the high end, but they do consider their subscribers as sponsors in the sense that they have a certain number of guaranteed sales that allow them to plan in a different manner. I shied away from joining the ranks for a looooong time, also due to the asking price (which is at the level of CDs in the nineties, in CHF it's 25, in Euro I think it's 15, based on the fact that salaries in Switzerland are higher than elsewhere, and so are production costs ... in a globalized western/northern world, that may be of little relevance, but it's part of my experience: going on vacation even within the EU is rather cheap for me, importing/buying stuff like music or books just as well etc. But of course people are greedy - to some extent also just making sure to look after their finances, I guess - and are dumbfounded by this ... but then the cost of this Intakt subscription is just a part of what I spend on music every month and I really am in a position that I can afford it, and I do like the idea of being a sponsor of this label I've admired for many years.)

Sad indeed. First encounter was "Bugle Bop Boy", the Muse duo album with Lester Bowie that was part of one of those cheapo UK double disc Muse reissue packages ... still have that Lester Bowie set, still love some of the music it contains. And yeah, "Junk Trap" is wonderful!

Oh, I hope so, too! I have given it three spins since December, it's surely nice. Do so! I'm not sure if it would have clicked right away without the amazing concert I attended in November (that's where I bought the CD, official release is now, but they already sold it), but it went high up on my 2016 best albums list.

That sounds really interesting - thanks for the alert!

Shipp seems to release a monthly album ... no way I can keep up, I have actually given up. Re: Eisenstadt, I found his recent Clean Feed a bit ... tame, very nice for sure, but I guess a concert by the same band would have been more interesting (and that is actually a thought that more and more often crosses my mind when I listen to discs that are on topic here). Anyway, I finally joined the ranks of Intakt subscribers and got my first delivery yesterday ... it was to be Aki Takase/David Murray and Ellery Eskelin/Christian Weber/Michael Griener - the later I had already bought at the trio's gig in town in November, and it's very good (though again, the concert was amazing, the disc is a bit pale by comparison, but still in my top 10 of the last year ... official release is just about now, I think): It mixes old tunes (Basie, Jelly Roll, Waller) with free originals that attempt to capture places of the trio's common NYC sojourn. They did the same in concert, always switching between the old tunes and their own stuff - and it works pretty nicely indeed! The discs I did get yesterday and gave a first spin to are these: The colour of the Takase/Murray is much nicer in real ... more towards orange ... but we're in it for the music, right? I enjoyed both, the Takase/Murray surprisingly much. The played a concert in town around the time of the recording and I was a bit disappointed by it, Murray sounding a bit tame, though it had been his wish to play with Takase, who seemed to be reading most of what she played for the entire set (and that inhibited her music to making to the point that her faux-stride sounded awkwardly off-beat sometimes). On CD though, Murray sounds absolutely gorgeous and the combination works rather well indeed. So positive surprise! The Crump/Laubrock/Smythe was both more captivating and more difficult to approach, I found ... I will need to sit down and listen to it a few times, I assume, but the first impression is very favourable indeed.

You ought to consider going, I assume

Lovens is still playing, but not travelling much. When Schlippenbach-Parker-Lytton played here recently, I saw the car with Berlin plates outside (tiny, by US measurements) ... and I can fully understand why Lovens doesn't feel like ... Anyway, having heard the original Schlippenbach Trio (once, a few years ago), the current trio is an entirely different band to my ears. Wonderful just as well, but different. More playful, less driven, if that makes sense. Btw April 18 is my birthday--can't hope for a better party than hearing Moholo all night! All in all it's pretty much the nights you menton that I am looking forward to!

Raffles? They do that in homes for the elderly ... but I guess that's almost the same as jazz clubs

Trip to Lille takes roughly 5 hrs by train ... about the same as it is to Novara for me

No LJCO, alas, and no so special opening night (would have busted the budget, as I was told). I have booked tickets for the first six nights by now, will be my first London visit since 2001 or 2002 ... if anyone else is there, get in touch! Also, I see Alex is playing at Cafe Oto on April 14th with Louis Moholo's 5 Blokes, but as I have already booked a (rather cheap, non-refundable) flight for 16th, I'm not going to make that, alas. Tickets can be bought easiest by selecting the concerts here: http://www.vortexjazz.co.uk/series/intakt-records-festival/

http://www.intaktrec.ch/160901_london-2017_programm.pdf Verein London Concerts · Intakt Records Vortex Jazz Club, 11 Gillett Square, London, N16 8AZ http://www.vortexjazz.co.uk Sunday, April 16, 2017, 7.30 pm + 9.15 pm MAYA HOMBURGER – BARRY GUY Maya Homburger: Violine Barry Guy: Bass HOWARD RILEY TRIO WITH BARRY GUY & LUCAS NIGGLI Howard Riley: Piano Barry Guy: Bass Lucas Niggli: Drums EVAN PARKER – BARRY GUY Evan Parker: Saxophone Barry Guy: Bass JÜRG WICKIHALDER – BARRY GUY – LUCAS NIGGLI BEYOND Jürg Wickihalder: Saxophone Barry Guy: Bass Lucas Niggli: Drums Monday, April 17, 2017, 8.30 pm + 10.00 pm TREVOR WATTS – DIETER ULRICH Trevor Watts: Saxophone Dieter Ulrich: Drums LUCAS NIGGLI – JAN GALEGA BRÖNNIMANN – ALY KEÏTA Lucas Niggli: Drums Jan Galega Brönnimann: Bass Clarinet Ali Keïta: Balafon Tuesday, April 18, 2017, 8.30 pm + 10.00 pm IRÈNE SCHWEIZER – LOUIS MOHOLO MOHOLO Irène Schweizer: Piano Louis Moholo Moholo: Drums OMRI ZIEGELE WHERE’S AFRICA Feat. Irène Schweizer + Louis Moholo Moholo Omri Ziegele: Saxophone Irène Schweizer: Piano Louis Moholo Moholo: Drums Wednesday, April 19, 2017, 8.30 pm + 10.00 pm IRÈNE SCHWEIZER – MAGGIE NICOLS Irène Schweizer: Piano Maggie Nicols: Voice OMRI ZIEGELE NOISY MINORITY Feat. Percy Pursglove Omri Ziegele: Saxophone Jan Schlegel: Bass Dieter Ulrich: Drums Percy Pursglove: Trumpet Thursday, April 20, 2017, 8.30 pm + 10.00 pm SCHLIPPENBACH PLAYS MONK Alexander von Schlippenbach: Piano OMRI ZIEGELE – JOHN EDWARDS – MARK SANDERS Omri Ziegele: Saxophone John Edwards: Bass Mark Sanders: Drums Friday, April 21, 2017, 8.30 pm + 10.00 pm BUECHI – KINSELLA – EDWARDS – MARSHALL WOOD AND BONES Sarah Buechi: Voice, Composition Lauren Kinsella: Voice Hannah Marshall: Cello John Edwards: Double Bass SCHLIPPENBACH TRIO Alexander Von Schlippenbach: Piano Evan Parker: Saxophone Paul Lovens: Drums Saturday, April 22, 2017, 8.30 pm + 10.00 pm INGRID LAUBROCK SLEEPTHIEF Ingrid Laubrock: Saxophone Liam Noble: Piano Tom Rainey: Drums SARAH BUECHI SHADOW GARDEN Sarah Buechi: Voice Stefan Aeby: Piano André Pousaz: Bass Lionel Friedli: Drums Sunday, April 23, 2017, 8.30 pm + 10.00 pm CHRISTOPH IRNIGER PILGRIM Christoph Irniger: Saxophone Dave Gisler: Guitar Stefan Aeby: Piano Raffaele Bossard: Bass Michi Stulz: Drums AKI TAKASE – INGRID LAUBROCK Aki Takase: Piano Ingrid Laubrock: Saxophone Monday, April 24, 2017, 8.30 pm + 10.00 pm STEFAN AEBY TRIO Stefan Aeby: Piano André Pousaz: Bass Michi Stulz: Drums AKI TAKASE – RUDI MAHALL Aki Takase: Piano Rudi Mahall: Saxophone Tuesday, April 25, 2017, 8.30 pm + 10.00 pm FLORIAN EGLI WEIRD BEARD Florian Egli: Saxophone Dave Gisler: Guitar Martina Berther: E-Bass Rico Baumann: Drums STEVE BERESFORD – JULIAN SARTORIUS Steve Beresford: Piano Julian Sartorius: Drums Wednesday, April 26, 2017, 8.30 pm + 10.00 pm SYLVIE COURVOISIER – MARK FELDMAN Sylvie Courvoisier: Piano Mark Feldman: Violine PIERRE FAVRE DRUMSIGHTS Pierre Favre: Drums Valeria Zangger: Drums Markus Lauterburg: Drums Chris Jaeger: Drums Thursday, April 27, 2017, 8.30 pm + 10.00 pm PIERRE FAVRE SOLO Pierre Favre: Drums COURVOISIER – FELDMAN FEAT. EVAN PARKER Sylvie Courvoisier: Piano Mark Feldman: Violine Evan Parker: Saxophone --- Organisation Verein London Concerts · Intakt Records Präsident: Lucas Niggli Vizepräsidentin: Sarah Buechi Executive Producers: Anja Illmaier, Florian Keller, Patrik Landolt Für Vortex: Oliver Weindling, Kathianne Hingwan

BOBBY BRADFORD QUARTET featuring VINNY GOLIA EUROPEAN TOUR (January 29-February 8) BOBBY BRADFORD cornet VINNY GOLIA woodwinds BERNARD SANTACRUZ double bass CRISTIANO CALCAGNILE drums • Sunday, January 29: Parazzar (Brugge, BE) • Monday, January 30: La Malterie (Lille, FR) • Wednesday, February 1: Sunset (Paris, FR) – Discount available!! see below (20€ statt 28€ mit dem Code 20BB1 über die Website des Clubs) • Thursday, February 2: Bimhuis (Amsterdam, NL) • Friday, February 3: Musicus Concentus – Sala Vanni (Firenze, IT) • Saturday, February 4: Novara Jazz – Istituto Civico Musicale Brera (Novara, IT) • Sunday, February 5: Spezia Festival (Trevozzo, Piacenza, IT) • Tuesday, February 7: Centro d’Arte – Cinema Torresino (Padova, IT) • Wednesday, February 8: Porgy & Bess (Wien, AT) --- I plan to attend the concert in Novara, topping off a one-week trip that starts Sunday prior in Milan with Roscoe Mitchell ... I have seen Bradford in concert once so far, with the loud and intense Circulasione Totale Orchestra headed by Frode Gjerstad, and I'm a big fan of the live albums by Bradford/Gjerstad on Nessa and NoBusiness. With Circulasione, it was magic, all those (mostly) younger dudes standing in a semi circle, Bradford seated on a chair in their midst ... the music was *really* loud, two drummers on stage (Hamid Drake and Louis Moholo no less!), Sabir Mateen going ape-shit and all that ... but as soon as Bradford put his horn to his lip, his tone projected through all of it, seemingly effortless, with a singing clarity that really touched me. So yeah, I'm looking forward very, very much to hearing him live again!

Uhm, yeah ... he was playing differently with Wadada because that (as well as the drummer with Vijay Iyer) was obviously not Nasheet Waits but Marcus Gilmore - and Gilmore was actually the one of this generation missing in Berlin to make the festival complete (Gilmore, Sorey and Cleaver were there, Waits was not). DOH!

There was a fixed version in circulation ... maybe they've now stolen that one?

Hm, actually when I heard Waits with Wadada in Berlin, he was playing differently - more into a straight flow, that may have had some Elvin in it, kind of a waves thing, one wave rolling in after the other, a dancing groove of a very different type than what he played this time. This time I definitely never thought of Elvin at all. And I didn't really when I was in Berlin, I lacked references there, which of course isn't exactly a bad thing either I know Helias is good, I've heard him with Open Loose (on a so-so night, at least so it seemed to me) and in a gorgeous trio set with John Surman and Pierre Favre a bit more than a year ago ... I really don't get the over-amplification thing really. I mean Jones clearly profited as he was able to adapt his volume on a much broader level regardless of how loud Waits was, but the piano wasn't loud enough and the bass just had this slippery, somewhat thin sound ... that ugly bass sound you find so often on late 70s/early 80s productions. I guess I prefer unamplified bigtime, but with Waits on a kit like the one he played that night, none of the others would be heard any more, so there's that. But put a microphone in front of the bass, catch it's natural sound, and that's that. Oh, btw, the last number before the encore (it was like this, I think: set 1 was 4 tunes all in one segue, set 2 was 2 tunes, then the ballad, then 2 tunes, then the encore) was Charlie Parker's "KoKo". Another old-school aspect, throw in a bebop tune. Nice. Not something you get to hear by such great musicians often, over here! Next up, maybe Defunkt in about two weeks, not sure I'll make it (several classical concerts scheduled in the meantime and around that time).

Appreciated!

They were pretty amazing indeed! Or rather, Waits was amazing all the way through - what a great drummer, of the younger generation, he may be my very favourite! They started off set 1 with an Andrew Hill tune and then segued seamlessly into three more tunes (originals, I think), then Waits pulled a short stand-up act before the break. And yeah, break time it was pretty often, musically speaking. Lots of funk in there, and lots of build-ups and explosive stuff ... sat right up front and center, two meters from the bell of Darius Jones' mighty alto, Waits to the right, Ortiz to the left on a nice baby grand, and Helias (his bass sounding slippery and ugly and overamplified) in the back behind Jones (and standing behind Jones means you won't be seen much ... but from the second of third piece on, Jones moved to the side a bit when he wasn't playing). The Intakt crew was there, to watch their latest hype Aruan Ortiz ... he was alright (though compared to the amplification of the bass and drums he was a bit low in the mix - why amplify drums in such small locations anyway, I will never quite understand ... job security for the sound man?) but I don't quite get the brouhaha, I'm afraid, his Intakt disc sounds a bit tame/restricted to my ears, but he wasn't really loosening up much more last night, except for one part where he was banging, which got boring after a while. Second set was not fully segued, after two tunes they put their instruments down for a moment, then played a ballad and one more tune, and in the end returned for an encore ... I guess the playing time amounted to around two hours, and all in all, I really enjoyed it. And watching Waits was amazing. I have heard him at least three times - with Vijay Iyer's trio, with Tarbaby + Oliver Lake, and in November with Wadada Leo Smith's Great Lakes quartet in Berlin. But only yesterday, it dawned on me how much of a Max Roach man he is ... of course he adds plenty of other ingredients, but he has that marching, vertical style, and he has that heavy, drum-based sound, making the snare, the bass drum and the two toms (one on the floor, one on top of the bass drum) his main instruments, using hi-hat and cymbals more to puncuate rather than to create a constant flow. He does get into a flow, but it's a charged one that can go in any direction at any time, that is never one of equal division of time, rather it's rolling and strutting, it stutters, it gets delayed minimally only to catch up and lead the pack again a mere second later. Mesmerizing to sit so close to a master at work for an entire night!

What slow ... thanks for checking! Of course my question was triggered by Agustín's research (see posts above), so would you have exact dates to confirm?

Okay, I see ... but the 29th is confirmed now, I guess Someone here ought to have some UK jazz rags - @sidewinder, maybe? - or access to some daily paper's archives to run a search like thd one I did?

Oh, I would have expected you to know ... I got all excited when I found the Bennett set last night and kept refreshing the amazon music page ... but it really took half an hour to load, finally, and it got too late to listen. Too bad it's not on disc, this one! Most of the DL-only sets seem to be of previously released recordings (Trema/Europe 1/Pour ceux qui aiment le jazz - never figured out what that label is actually called! - and later on on LasterLight), but I am quite a fan of the actual Fremeaux series (released by Ray Charles, Quincy Jones, Count Basie - mostly duplicating the Laserlight set but containing some more music -, Nat Cole & Q, Ella, Les McCann ... there are a few recent ones other than the McCann that I still have to get: Monk, Horace Silver, JATP, maybe the MJQ as well). Here's the website listing all that's around: http://live-in-paris.fr/ Alas, Frémeaux has only two incomplete listings on their site, but a search for "Live in Paris" will deliver them all: http://fremeaux.com/ But that's off-topic in the Barney thread ...

I'm not allowed to read the second page - what's the contradiction?

Reluctantly bought another download last night (and then crappy Amazon Music was not loading for half an hour ... dispose of physical, get immediate gratification? surely not!) - played the first half of it on the morning commute, sound is alright, the trio (Jimmy Gourley and Kenny Clarke, as usual) in fine shape. Wilen joins them for four tracks, of which I've heard only the first one so far (and the start of the second, which he plays soprano on). Also, someone please enlighten me, what's this, "La Reine des vampires" by François Tusques, with Wilen: https://www.discogs.com/Fran%C3%A7ois-Tusques-La-Reine-Des-Vampires-1967/release/5487652?ev=rr ?

Some (admittedly few) collectors are young and happy to get these boxes. And some others are older but focused on other stuff ... we tend to cringe when others buy those cheapo euro pd reissues, but what do you tell them, "hop into a time machine and travel to 2000, add a short stop in 1988 when the Tyrone Washington was still in print"?

I was actually rather surprised to read such a positive review of Kirk from that time. True, it is patronising somewhat (I guess yozmu still can't do Kirk without "Jahrmarkt" until this day), but it's about Kirk the musician mostly, and really endorsing what he does.