king ubu

clem, I think you may be right about the EAI thing - I have some stuff on small labels, and indeed hat's usual run of 3000 discs (that's cheaper to do than doing smaller runs, he realized, after having done a few smaller ones early in the hatOLOGY series) may be way too much. Also I remain sceptic about the whole EAI stuff to some extent. I have two erstwhile releases and a couple of other discs, but never got fully into EAI. However, as you said, if WXU digs it, he digs it... As it seems for now he will not have any pure EAI releases on his label, but rather releases combining traditional instruments with some electronics. As for Frank Martin, I remain clueless... I just had a look at the Martin website - any recommendation(s)?

Couldn't put it better! And me too, I haven't digested all of it yet. Definitely fascinating music!

Yes. My asking if Hat was heading more in the direction of EAI was less for my interests (as I'm not greatly interested in EAI) but more out of curiousity; I'm just wondering if EAI sells better than what Hat is traditionally known for offering. (I doubt that it does.) ← I would doubt that, too. But Uehlinger is still selling what he likes and thinks he can sell. Very refreshing! The only thing he would do if the financial situation gets difficult, as I understand, would be to have more reissues vs. new releases.

So brownie should learn reading catalan in braille, I guess! Some others have read these posts, too, EKE! I'd love to lay hands on this book, I must say, even though I may have trouble understanding more than some bits... (ok, some years ago I was able to read some... García Marquez or Lorca or whatever, of course with some dictionary, but... I may just have to get into it again!)

Late as usual, but all the best, Matt!

Yes, Tony, it's Hat Hat, exactly He explained it that way: in those days, everything had to have some name implying a tangible/concrete thing (like "Table Records" or "Fork Records", those, albeit in German, were his examples). They went with Hat Records, but a friend of his (I think the guy who designed the very first sleeves) thought since WXU was of german language, "Hut" should be in there, too, thus they ended up "Hat Hut". Braxton... he didn't want to talk about what he does reissue why and when... but as I said, if he had the money he'd reissue all there is... I assume that Braxton *is* a selling point (that's why on his recent release hatO 614, a Roland Dahinden release, the name of Braxton, who only is composer of the music, but does not actually play, is mentioned on the front cover...) He gave us copies of hatO 613-17, 619 and 621 and will pass us on a copy of 627, too, plus he gave us two hatNOWs - will be interesting to listen to all of these! Not much electronics there yet, but as he said, more will come. Tony: you are aware of the eRikm/Fennesz release, are you?

Thanks Claude! So I must not be afraid that if I buy a usual-looking Sony/Legacy disc I end up having this programme on it? Why then is Switzerland being mentioned, too? The jazz releases did not have any of the info printed on their covers, as shown above! Still confused and waiting a bit, I assume...

No, I am not! But I would like someone to confirm if and how they're marked, before I pick any of them up!

That's ready and waiting, too - but not remastered, thus no need to replace if you have the old copies (I do). He gives Peter Pfister his tapes or masters or whatever. Pfister checks them out and decides if there's use/need in remastering or not. With the "Long March" he decided use would be so small that it wouldn't pay. Some things I forgot: discussion about reissuing one disc of tracks from the two Anderson-Doran-Hemingway discs (nothing definitive, maybe already dead again?), and also he sent some folks asking around for funding of a reissue of that great Urs Blöchlinger LP (he said he remembered the days when Tim Berne was working at one of those stores in NYC - Downtown Music Gallery? can't remember, you guys will know anyway - and hyping about that Blöchlinger album. I heard parts of it in some Swiss Jazz Classics series on the radio, and loved what I heard, so I hope this materializes.) Hans: this is not our interview, just a few glimpses taken from it! We talked for more than two hours and recorded more than an hour of that. Funny: while walking from that hotel where we did the interview back towards the railway station, we started talking Definitive/Lonehill/Freshshound/Gamit. Uehlinger said there was talk that Jordi was behing all of them, but that he was out of all of them (even Freshsound) in order not to damage the reputation of his Freshsound New Talent label, which he still heads. Uehlinger also mentioned just having bought a Gambit disc with some otherwise unavailable Giuffre stuff on it... he's crazy about Giuffre! Also he told us some funny stories about some of his releases. Seems that each album/disc he did has it's own little history... One upcoming new release he mentioned also is Chris Wiesendanger's trio set from last year's Unerhört festival, here in Zurich. Wiesendanger is a very good local pianist (also documented on FSNT, btw). He played mainly Carla Bley tunes, in trio with bassist Christian Weber and drummer Dieter Ulrich (who has been involved with many a swiss jazz project over the years, also on hat). And something else: hat is not a hut. Meaning: "hat hut" does not mean "hut of hats", but simply "hut" is the german word for "hat". Didn't know that, and am aware of at least one (otherwise not bad) article by some local jazz journalist who talked about the "hut of hats" when they celebrated the 25th or 20th birthday.

I'd like to know what makes you think this because other than the infamous Metallica/Napster debacle, I don't think the majority of musicians/artists support copy-protection at all. This seems to be the doing of the labels in order to "protect" their investment. Besides, if the musicians were really clamoring for copy-protection, do you think the majors would actually spend all this money to develop it? When do they ever give a shit what the musicians want? ← couw got me right here (thanks!) - sorry for posting and then not being able to answer to any reactions. I do like to support musicians, small labels, and the like, and I do spend money on a good product. And I'm getting more and more pissed by the majors' behaviour. One general question: if I buy any of the recent Sony releases (Woody Shaw, Ahmad Jamal, Dexter,...) - is there a safe way to see if the disc is infected by this sh*tte or not? Can I see this from looking at the cover and/or tray? (My guess of course is: no - My rant then goes on: wtf! They don't even have to declare their sh*tte? No such law that they have to declare any software that is on their disc and may or may not install itself and may or may not do harm to any of your technical devices? This is all so stupid!)

Ok, we met Mr. Uehlinger yesterday for a lenghty conversation (he stayed an hour longer than he said he had time to... a really nice and warm person). First some facts: Warne Marsh: ready for two years, should be out next year more EAI: let's put it like this: he listens to stuff out on Grob and is no stranger to Erstwhile... and he does like electronic stuff more and more, he said, so yes there will be more, but mostly not "pure" EAI, rather than albums/project mixing traditional instruments and electronics, or adding traditional instruments to electronics or whatever. He said there should be about 3 releases including electronics next year. McPhee: an album with (by?) Clifford Thornton is ready for being out, too (I don't know if it's the WBAI one or what it could be). generally: he doesn't look for a successor (rather he thinks selling the label is a better idea than some successor watering it down) and plans to continue as long as he's able to, health-wise. Money seems to be a bit less of an issue, he does other ways of paying his musicians (no big advance payments possible anymore), and many of the musicians seem to be solidaric with him and stick to his label, too. Anyway, I won't tell more about this here. New releases/Reissues: generally, his goal is to document new music, not to turn his label into a reissue label. He envisions 1/3 reissues opposed to 2/3 new recordings, but costs for reissues are much lower, so he says that if times get even rougher, he may increase the ratio of reissues a bit. Also he said that if he had the money, he would re-release all his recordings now (so if anyone has a million or so and doesn't know what to do with it, PLEASE send him an email and ask for his bank account!) CT not "Garden" yet, but the other OOP album will be reissued next year, too, he said. So, all together, it seems he's in good spirits, still has many many plans and projects and does not waste many thoughts on stopping or cutting down. He does as much as he can, which is great! Also he's dealing with other (swiss and yurpean) labels to set up some kind of online/mail distribution, since small labels more and more often are not carried anymore by the large stores/chains. Nothing definitive yet, though...

Would that be Bethlehem material? I have a Freshsound LP with one of those albums, "Tribute to the Greats" - very nice album!

Ordered the Eldridge Mosaic from German Amazon!

(can I sue her? I need a new keyboard for my computer!)

I see only positive aspects in this - I never liked the way ZYX handled this. Can't recall who distributes Concord in Germany right now, but they have a more serious way of treating it, for sure. ← Concord has virtually no distribution here. And OJCs have been hard to find for several years by now. I'd love to see a good sale! Oh, and one thing ZYX definitely did wrong were the small editions of the box sets, with lousy to no documentation, yet selling them at full prize. In my pre-internet days I bought the Sonny Rollins box for ca. 120$ - doesn't even contain a discography, just tracklisting and microscopically small liners with some to most of the musicians being mentioned. Lousy lousy stuff. I'm still pissed on this today (obviously I wasn't pissed when I bought it, since then I didn't know yet...)

hmmmm... enjoying the perspective of my Eldridge being mailed within hours from now, for 45€... less enjoying the thought that it will be lined up next to several others that I got over the last year and have not heard in their entirety (Farlow, Ory, Basie, Jazztet, Mulligan...) but as they say, this is an investment, right? and me being young, one has to add: you can't start saving for your future early enough! correct?

Happy Birthday!

I absolutely love what the Bloomdaddies do to this tune on their first disc (on Criss Cross)!

Has anyone mentioned already that Jerry Van Rooyen kicks some real mean ass?

I don't know any Gerry Hemingway quintet stuff, and with the Braxton, I guess it depends on what Braxton we're talking about. But I honestly think that the only way a music 'lover' wouldn't be fascinated by this set wouldn't be fascinated by this set is if (s)he had a blanket distaste for anything even mildly avant-garde. Since you're into the Hemingway and Braxton, this clearly isn't the case, so go for it! ←

soon to come: this year's edition (the third so far) of http://www.unerhoert.ch/ That's the nice small festival where I saw/heard Lacy solo, as well as Roscoe Mitchell (solo as well), Irene Schweizer, Doppelmoppel and some other great concerts... Here's this year's programme: PROGRAMM AM FREITAG 25. NOVEMBER 2005, 20 UHR, Clubraum NILS WOGRAM – RUDI MAHALL – JAN RODER – ULI JENNESSEN Nils Wogram Trombone | Rudi Mahall Bass Clarinet | Jan Roder Bass Uli Jennessen Drums OLAF RUPP GUITAR SOLO Olaf Rupp Guitar ICP Orchestra Misha Mengelberg Piano | Ab Baars Clarinet, Saxophone | Michael Moore Clarinet, Sax | Tobias Delius Clarinet, Sax | Wolter Wierbos Trombone | Thomas Heberer Trumpet | Mary Oliver Violin, Viola | Tristan Honsinger Cello | Ernst Glerum Bass | Han Bennink Drums Nocturne 23.30 Uhr, Fabriktheater MONK’S CASINO – THE COMPLETE WORKS OF THELONIOUS MONK · PART 1 Alexander von Schlippenbach Piano | Rudi Mahall Bass Carinet | Axel Dörner Trumpet | Jan Roder Bass | Uli Jennessen Drums PROGRAMM AM SAMSTAG 26. NOVEMBER 2005, 15 UHR Clubraum KARL EIN KARL Peter K Frey Bass, Voice, Electronics | Michel Seigner Guitar, Voice, Electronics | Alfred Zimmerlin Violoncello, Electronics NIK BÄRTSCH RHYTHM CLAN Claudio Puntin Div. Klarinetten | Sha Bass- und Kontrabassklarinette | Björn Meyer Bass | Kaspar Rast Drums | Andi Pupato Perkussion | Nik Bärtsch Piano, Perkussion PROGRAMM AM SAMSTAG 26. NOVEMBER 2005, 20 UHR Clubraum PIERRE FAVRE – YANG JING Yang Jing Chinese Pipa | Pierre Favre Drums, Percussion HANS KOCH SOLO Hans Koch Bass Clarinet & Soprano Sax OBJETS TROUVÉS Gabriela Friedli Piano | Co Streiff Saxophones | Jan Schlegel Bass | Dieter Ulrich Drums Nocturne 23.30 Uhr, Fabriktheater MONK’S CASINO – THE COMPLETE WORKS OF THELONIOUS MONK · PART 2 Alexander von Schlippenbach Piano | Rudi Mahall Bass Carinet | Axel Dörner Trumpet | Jan Roder Bass | Uli Jennessen Drums ********************************************** I have no idea who that Rupp guy is, but I'm looking forward to being there on Friday night. Will miss Saturday night (might make it for the nocturne set provided I stay there on Friday and like it). Saturday afternoon I'll probably skip. Pity to miss Koch, but I have some other obbligations that evening. Looking forward to hearing ICP live a lot! Also Wogram's group could be fun!

My guess then: late Oct./early Nov. 2006.

Seems like both are limited editions, if I read the first post correctly.

Whoah! Great news! this recording is da shit, as they say! Great arrangments of great compositions, Julius Watkins... one of the best albums Mingus did, and truly a miracle why this is not readily available. Should not be a limited edition! Should be spread as far as possible!

Happy birthday!