king ubu

I just heard them for the very first time on a 2-part radio broadcast of a recent (2005-11 I think) concert from Germany. Very *very* nice! I don't think any of this is aimless, the Reich comparison may be a good one, or maybe Riley? The grooves they set up are very nice, and Speed is great on clarinet (and on tenor, too). The instrumentation I like a lot, too: ts/cl - acc - vib - b - d. There's not much similar music around, for sure!

Still my favourite Young Lion disc: I wasn't aware of the term having been in use back then before I got the VeeJay Mosaics (got them when they ran low). Is this a very standard term, also in use outside of jazz music? Because inside the jazz realms, nowadays it clearly suggests the guys you've been mentioning, and has become somewhat of a historic term, since these guys aren't all that young any longer, yet after them there has been no talk of young lions anymore...

for "Bangception" (Some of my favourite Charles there! And you know I am not his greatest fan in other contexts...), and also for "Coon Bid'ness"! Oh, and for "Tree Frog Tonality", too (my only Lindberg, except that I just also got the successor on between the lines, but haven't played it yet.

Happy Birthday, Jon!

Just go for his music! Now you've read the thread three times, it's time to check out some CDs! If you want to get an impression of his African trip, check out "Moshi", if you want some mainstream jazz, go for "New York Romance", if you want some fun, go for "Wild Dogs of the Ruwenzori" or "La Note Bleue"... and if you juast want a good fix, get his Jazz in Paris disc "Jazz sur Seine"... or read the thread a fourth time and get all you can find...

You would have gotten it without asking Oh wait, I don't want it, really! Now that you said that I was to get it anyway, it lost all its attraction! Plus, you listen to bad music only, anyway!

Maybe 'coz he has a Mosaic still out? And what a great one that is! Duke Jordan's "Flight of Jordan" is a great album, in my opinion!

I'm in brownie! You got my address!

Please show this ignorant fellow how this can be done. The way Uptown tried (for the Mingus cd) was a series of "legal" letters from lawyers to retail establishments and the "distributors" we could track down. The legal costs were about equal to the "profit" one would expect from a very"successful" historical release. Maybe we should just let the US justice dept know someone is sending in cds we don't want here 'cause of unfair competition. Then they'd protect us. Right? I guarantee Uptown spent more money trying to protect their work/investment on the Mingus project than Jazz Factory spent on their entire product. Get a grip and show me the way to go home. Do you have any idea how many worthwhile projects are "on hold" because of this crap? And now Sue sues you? Or rather Sunenblick? Pathetic mail in Downbeat... about how critics/reviewers give those bootleggers (Uptown, in this case...) legitimacy by telling everybody how great the music was... has Sue ever heard about the Definitive version? Probably to her it's all the same, yes?

picked up these two in a sale: Played the Taylor once so far, sounded ok. Haven't heard the Lowe yet. Any opinions?

Did Pujol say so? Seriously: I must correct my ideas about Fresh Sound, in this case. So they do pay royalties? But do they have access to original sources, too? Since a lot of their releases sound pretty crappy (well, older releases... when did they turn legal? Not before the mid 90s, because most discs older than that sound quite "home-made", no?) I will stand in the corner for a minute now, and I'll have to find some ashes... -_-

Not to start a fight, but there are plenty of Lonehill CDs that aren't readily available elsewhere such as one I learned about today -- Hank Jones & Tyree Glenn. This is pretty obscure stuff. Just possibly there is Japanese import, but that would be it. If you mean that it was available at one time on an LP, well ok, but that doesn't qualify as available to me. No need to fight! I don't know the whole catalogue, but I keep stumbing over re-packaged discs here all the time... maybe the (badly equipped) stores here just stock those. Anyway, even an items such as their 2CD Buddy De Franco quartet is prob. a straight rip-off. The problem is not only on their side, but also on the side of the majors who don't feel obliged to release all the music they're sitting on, for sure. I don't have an ethical problem in buying some of these releases (though I have just one Lonehill relelased, Manny Albam's 2CD "Jazz Greats of our Time"), if they're not ripping off other small labels (see the Okratone Hank Jones above, or see Definitive's Mingus forties compilation), *but* if they would wanted to be taken seriously by "serious collectors", they should at least drop those items and only release things that are either OOP for some time, or have indeed not been on CD... (only then, the crappy sound quality problem enters again, since they won't be able/allowed to work on any original tapes with their methods...)

I'm curious. Would we have the same disdain for LoneHill if they did only release albums that weren't available any other way ("legally" or not) instead of the ones they obviously rip off? Well, as far as I understand, the whole fresh sound operations (only Fresh Sound New Talents excluded) is but a rip-off operation... so yes, it does make a difference, at least for me, since Fresh Sound has a lot of good and as far as I know not available elsewhere material in their catalogue. I wonder, for instance: are the Dawn (reissued by Fresh Sound over here, I think taken care of by Biograph in the US, whatever kind of operation that is I have no idea) reissues legit? Because these are definitely great releases! But my guess is they're not legit nevertheless. What's worth special for Lonehill (and Definitive) is the fact that they only have stuff out that is/was available elsewhere, and that they (in the case of Lonehill) disguise it in an often absurd way, too. No "serious collector" can take Lonehill serious - otherwise he's but a joke!

Why all the intellellectuallo talk? Just enjoy the tune and shut the fuck up! Happy Birthday, Jim!

Thanks for chiming in, Paul. I just played "In Orbit" again and liked it a lot better, this time. Brown's micro-tones on flute are rather impressive! But then somehow the music - while I found some parts of it quite beautiful, this time around, mainly the opening two tracks and the beginning of the third, too - leaves me rather cold, has maybe got some kind of "academic" touch...

but why blame her? sure escapes me!

I've been to a store in Zurich yesterday that stocks many Lonehill & Gambit discs and they have *no*, but not the slightest of clues! They even believe actually that these "collectors' items" have been digitally remastered. They have no clue about the copy-protected CDs not actually being CDs, either. So what can you expect from the regular buyer? Nothing. People just don't know, salespersons in shops are clueless and couldn't care less, so your assessment is dead on, alas. I am not one of those that categorically stays away from any Freshsound/Disconforme/Lonehill/whatever release (except for the RCA series [but aren't those the same ones as the French RCAs anyway?], I assume, and the FSNT series, it's all ... well, now how to put it? "morally illegal"?), but I'd *never* consider buying the rip-off Mingus or anything. But, for instance, if I didn't have the Buck Clayton Mosaic, I'd certainly go for the 3CD masters release on Definitive - where else to look for it?

cousins, he he he! when we interview Werner X. Uehlinger from Hat Hut Records, he confirmed that Lonehill was just yet another Pujol outfit... I guess he having an inside view at things should know... (and he then continued to confess having bought a Giuffre release on one of those labels, stating it was one that was no out on any other outfit...)

So David seems to be the one person on the whole board who made the single one post including Guerino Mazzola's name... anybody has any impressions, any recommendations? I have recently bought "In Orbit" (Music&Arts), by Mazzola/Heinz Geisser/Rob Brown (mostly on flute, not alto). There are plans for a radio show (interview) on Mazzola, which is the main reason I picked up the disc. Gave it one listen so far and found it rather conventional and boring, I'm afraid. Sure, there's a density of some kind that is not just run-of-the-mill free jazz, but much more than that it ain't, I think. I assume Mazzola has been majorly influenced by Cecil. To that he adds his music/mathematics stuff (which I don't know a lot about, another friend of mine would cover that if we'd do a radio show with/about him), and out comes a somewhat cool, tense free music that is probably not half as free in the end, as it sounds. Rob Brown does ok, but for me, Geisser is providing most of the highpoints of this disc. and a quote from the musicandarts page: Guerino Mazzola's homepage

I like it quite some! This was the very first time I heard Smith (on my father's original, I guess, vinyl - he wasn't a fan of it and dislikes organ till today, though...)

Allen, I guess you're absolutely right... but what I meant was he's perceived as a minor figure nowadays (if he's perceived *at all*...) Oh, same for Rehak! Great player, in my opinion! The Quinichette on Freshsound/Dawn has a different cover: And yes Mike: the 2CD set collects all the tracks that have *not* been added to other CD reissues. No duplication at all, I think.

and they could advertise them as "weakest cuts... if you like these, you'll love the other of the albums which are even better!"

Actually, why don't the release some samplers with the missing tunes? I guess they could easily fill a disc or two with tracks left off of twofers! Another one that has a cut missing is the most recent Johnny Griffin ("Bush Dance"?), and I think the Joe Henderson "At the Lighthouse" (with Woody Shaw) has something missing, too... I assume there are many more. Would also be a nice teaser for people who don't yet have the twofers!

Can I join the line on the Mobley?