king ubu

You mean you memorized all this dialogue!!??? Wow, I'm impressed. BTW Do you know how much, if any, of it was in the novel? Or is it all Faulkner/Brackett/Hawks/Bogart/ Bacall? No no, nothing memorized... I didn't learn that at school, alas, being much too young - never even had to know any poem by heart... But I'm familiar enough with the film to be quite sure that the parts I used (from the web...) for my signature are just like they happen in the film. Being no reader of crime stories, and not familiar enough with american literature anyway, I don't know how much of the film's from the book and how much from Faulkner/Hawks, sorry.

Happy birthday!

Now that I would definitely buy!

Just spilled all my coffee over the keyboard Sure, it's from "The Big Sleep", and for me there's just one version (I love Charlotte Rampling, of course, but still...): the one with Bogart & Bacall. I think the dialogue is word-by-word in the film, yet it's been a while that I saw it (but I saw it three or four times in the cinema already...) - one of my favourite films... "Key Largo" and "To Have and Have Not" are great, too, btw! (Just in case anyone feels like having more Bacall/Bogart.)

If it's Alarm you are referring to, this is from the Atavistic site: "The story is simple. We were touring with this band, and the reason I could put the band together in the first place was a radio gig in Hamburg. Michael Naura, chief of the jazz dept there, was setting up a series of on-air concerts in a 200-seat studio, so we performed the first piece, which I called "Alarm." I used the graphic instructions for a reaction to a nuclear emergency, a series of waves and straight tones, repeated in a certain way. We had planned two more pieces, one by Willem Breuker and one by Frank Wright. My piece took about 40 minutes, the first half of the concert. At the end of the performance, Naura came to me – while we were still on the air – and whispered that the house got a bomb threat and had to be evacuated. So I had to bring the piece quickly to and end and the audience was asked to leave the hall. We also had to pack and leave. Police and special forces showed up with all kinds of equipment, gear, dogs – we know all that better now than then. That was the end of the concert and that’s the 40 minutes we have on tape. -Peter Brötzmann, Chicago, October 2005 Hm, here's the info I have on that NDR workshop (don't have the disc, but I guess that's the date): NDR Jazz Workshop No. 164 - Peter Brötzmann Band November 12, 1981 Studio 10, Funkhaus, NDR, Hamburg, Germany Toshinori Kondo (tp) Johannes Bauer (tb) Alan Tomlinson (tb) Frank Wright (sax) Peter Brötzmann (sax) Willem Breuker (sax) Alexander von Schlippenbach (p) Harry Miller (b) Louis Moholo (dr) 1. Alarm (Brötzmann) (37:05) 2. Ahab (Schlippenbach) (7:10) 3. Sur l’Autoroute (Breuker) (7 :10) 4. Grandpa and the kid (Miller) (9:00) 5. Minor double blues (Schlippenbach) (9:55) 6. Another flat djungle (Breuker) (9:10) 7. Jerry Sacem (1.version) (Wright) (10:15) 8. Jerry Sacem (2.version) (Wright) (3:10) Total Time: 96:05 Producer: Michael Naura I don't have this, so I can't really say if it's around, but I strongy guess it is, since this comes from an informed source...

Happy Birthday, Barak!

I like Petrucciani alright, but as has been said, the 7CD set is far from his best (and I don't even know those albums that many might consider the best). I enjoy his Owl trio album quite a bit (probably/hopefully on Sunnyside CD in the USA?), and his Owl duo album with Lee Konitz is good as well. And both of the Elektra albums (also reissued by Blue Note) are as good as the few best one from the 7CD box (essentially, in my opinion, the acoustic ones... mainly the one with Lovano & Scofield and "Promenade with Duke"). Where should I continue? And about Mosaic doing a Petrucciani box: I assume the 7CD box has been a bad seller, it's around cheap here and there and never was rare, I think. Plus, it's a rag-bag, with a couple of rather bland electric albums in there that I could live wihtout perfectly well. So yes, it's more a question of Dreyfus releasing more, I assume... and their 3CD box is a box, isn't it? Maybe they'll do another one? I think Richard Galliano or someone has got two out, no? Oh, the only Dreyfus album I have the so-so meeting with Steve Grossman, btw. Where to go from there, which ones are the best?

Just about to finish download of CD2, works fine! Please don't forget to send me the link for CD1, as well!

well yes... probably only a question of time... there was a review in a recent edition of The Wire of two Wright discs that sounded very favourable (not sure if it's these two), and the only one I have so far (that limited and now OOP one "eight by nine" or similar, on that CDR label) I enjoy more and more, with each listen (three or four so far, and I found it only so-so on first listen, but it got quite a bit more interesting in the meantime).

Playing disc 3 of the Weston Select again - love it!

So these Bailey sessions were done in early 2003 when Sylvian's "Blemish" was recorded? Sounds pretty interesting! ******************** Me got this nice 5CD package from mimaroglu music sales (thanks for posting the link above!): - Polwechsel/Fennesz: Wrapped Island (erstwhile 023) - Axel Dörner/Kevin Drumm (erstwhile 015)* - Fe-Mail featuring Lasse Marhaug: All Men Are Pigs (gameboy gb56)** - Axel Dörner/Greg Kelley/Andrea Neuman/Bhob Rainey (sedimental 036)*** - Michel Doneda/Jack Wright/Tatsuya Nakatani: From Between (soseditions 801)**** *) one hell of a great cover, jon!!! **) ok, ok, I only got it because of the cover art ***) is "Thanks / Cash" the title or not really? ****) very nice package, but difficult to open without damaging it, and *very* difficult to read!

Same here. I wasn't surprised Brazil was knocked out of the tournament, just like the Argentinians (who played much better in comparison) they were much too sure of themselves. It's the real teamwork that wins the games here - and the real strong will to make it. The French are just beginning to get it. Those German players are so unpretentious, I wish them well - which I never before did! Mike, funny you should say this! You know, there are tons of Germans living in Switzerland (in Zurich I think they're the largest or second largest foreign group), and many of them are spreading out and being very loud and more or less naturally take more place for themselves than they leave for others... (sorry, it's no cliché, just drive the tramway and you'll see/hear yourself) and during the world cup things get even worse, of course (swiss behaviour gets worse, too, obviously... soccer seems to be an enemy of manners anyway). Now granted the Swiss *never* are fans of the German team, but now following only losely some games, some statements of Klinsmann etc. and witnessing the new and totally sympathic spirit of that team, I indeed wish them luck, too. The problem of the arrogance of many of the fans remains, of course, and I don't with anything to the fans, but the team looks indeed like they're very unpretentious. And on the Frings-thing: isn't it totally ridiculous that based upon out-of-focus tv images where you cannot judge on distance (to me, the fist of Frings looks like it's at least 20 or 30 cm in front - or to the left - of the Argentinian's face) they are giving this pentalty? These images look like a make-believe hitting scene of a Laurel & Hardy kind of film... best someone makes sure FIFA gets rid fast of that corrupt swiss guy heading them! (But I guess there are 20 of the same making in the queue behind him, waiting to replace him if he goes...)

Thanks Mike! I'll have to listen again with your answers printed out! Oh, and the french horn guy's a classical musician?! Wow! And Sadi is about the only one I know a bit (but only his early stuff from the fifties, and only sideman things, too...) What a challenge! (almost as good as mine, back then.. )

Actually, Diz does break new ground with Bossa Nova here in this set, only the sessions weren't released until after others got bossa nova out there and made a name of it. . . . He also fuses some carribean style material into his small group jazz conception which I don't think was often done before him . . . . Some really cool albums amongst those in this set. I love this Limelight album (not included, alas):

pm sent!

Hope you had a good one, Stefan! Belated best wishes!

huh? mine is just 1 disc!

... and prepare to pay 5 $ more per disc... I guess that's what they make us pay for not using that glue...

I saw the whole project live here in Zurich, last fall, and they were terrific. The whole thing went down in two nocturne concerts of probably 90-100 minutes, on consecutive nights. The band is actually not at all Schlippenbach's, neither is it his project. Rather it's the project/idea of "Die Enttäuschung" (band name, translates to disappointment, frustration or letdown), and Schlippenbach sort of added himself. Obviously his name being the best known, it was further regarded (and released by Intakt) as his project. Anyway, it showed in the music that Dörner and Mahall had much more to do with it than Schlipp. The first night, the whole thing would have been better without him, in fact - he sounded tired and turned in but a few lacklustre solos. Second night he was *much* better, playing with much more presence and ideas. What was remarkable was that the whole project was totally unamplified. Bassist Jan Roder has a nice woody sound and the drumset of Uli Jenessen's was tuned and played as to never get into the way and covering the bass. Dörner has monster chops, really impressive, but never felt like showing off, not at all. Beautiful sound, too.... Mahall, on the other hand, is the expressionist of the group, playing with total exuberance and virtuosity, often moving around in a rather spastic weird way. A few tunes added some kind of "show" effects, like the one where Schlippenbach played trumpet (his own instrument, btw, not Dörner's) while Axel Dörner sat at the piano - Schlipp did quite well (bad chops, but a couple of nice ideas), while Dörner just noodled around a bit... then there's one tune they play while laying flat on the floor (Roder below his bass...), and there was that one that really turned into a performance piece, actually... Jenessen has a big red rubber ball that makes this boomy sound when bumping at the floor, and that's the beat. The two horns chased him through the whole room, kicking the ball away, while he had to run after it and wasn't allowed to miss a beat... that was pretty funny, and musically it still worked very well. During another tune, Dörner sat behind the light board and when he darkened the whole room, the band had to stop and pick up again once he turned the lights on... So, live this was a really great experience, and if anyone can check it out, I'd recommend to do so! I don't have the CD and am hesitant to buy it, since the live experience will prove to have been much better anyway, regardless of how good the CD might be. @ bertrand: why not contact Dörner and/or Mahall and send them copies of those two missing tunes? I'm sure they'd be all for it!

huh? they did even worse than the swiss, and the italians did pretty badly, too, I heard... phew! that's why actually I'm glad the Swiss are out: I really hope Zurich will get back to normal life again now - it was a total madhouse for a week now, with public transport breaking down those nights them swiss didn't shoot any goals...

So you found the discs ...... The language is Czech - she is very well known in Czech folk circles! I appreciate your compliments on the sequencing - I spent many an hour on it! I see above that this track is from George Mraz' disc "Morava"... that one has been on my wishlist for a long time... will move it up further!

Strange, no? One would think he as president wouldn't "think", but *know*...

There was that test game they played against the Swiss, just before the world cup started - there was that one marvellous scene, where an itallin dived, his face performing at least a whole Verdi-opera, but in the middle of it he stopped to check if the ref was watching him, and then on it went... They should get cards for doing that, too!

Mike, this disc is quite a trip, to many places, from classical to ethnical... mainly lots of beautiful (in a good sense) music. I'm not sure if there really is anything that does connect all the tracks (#1-#12, that is), but it might be some kind of musical honesty? It's all warm and direct music that does not try to dazzle with technical things - that's what I meant with "beautiful", I guess. It's obviously useless to make any guesses, and I just took a couple of notes while listening (again only background listening while at work...) #1 Hmmm... sounds like something classical channelled through some other kind of mind? Or like some silent film accompaniment... #2 Marimba, balafon? Very nice easy one, I like the warm mood a lot! #3 Very nice sequencing, Mike, from #1 to #3! Similar to #1 again, but with more attack. Still very moody. #4 Wow! Sounds very familiar... some 20s or 30 piece for saxophone and piano? Good one! #5 Fits in nicely again... I don't have a lot to say about these moody piano pieces... not things I'd listen to all that often, but quite nice. #8 Hmmm... can't say I don't like this voice. What language's she singing in? Nice bass and drums below! Someone who knows how to handle them brushes, very nice! My favourite track of this disc so far. #9 Very nice... reminds me of Haden/Bley's "Ballad of the Fallen"... acoustic guitar and fat bass sound fit very well, tenor is good, too, with full-bodied sound that (imo) just manages to escape the tenor macho-clichés. Another favourite track! #10 / #11 Nice sequencing again here. Not much I can say... I like the second tune quite a bit, me likes some accordion in a nice setting like this. ******* #12 Not sure what to make of this. Sounds pretty interesting on first listen... ******* #13 Wow! Pathetic voice and chipmunks... great one! Reminds me of that sped-up vocal duo the Elliott fellow (trumpet, mellophone, vibes) had in the sixties... great! Goes to quite a few places afterwards. Tons of fun in here! #14 "Für Elise"... like this one a lot!