king ubu

Thanks a lot for posting this, ghost! Very interesting read, and indeed it's very nice to get a glimpse of the "human" Coltrane, not the idolized "hero" he became. Funny he does not recognize Bill Evans - he does solo, I guess, on "Mox Nix", no? (I cannot check, being at work). Then on the other hand, this is one of the rather atypical dates Evans made. ubu

YEAH! I love that album - the whole group sounds SOOOO good! Vinnegar is up there with the great ones of that era (Chambers, Watkins etc). Wonder what the Coltrane band would have sounded had he been able to get Vinnegar (I don't remember where I read about that, but I do remember I did ) ubu

Hans, thanks for sharing! Good news! ubu

I've never seen this one before. What's the label? Great band: Dyani fo'sho, and George Brown is a wonderful drummer. Great sense of polyrhythmic tension-building. He's got a neat little record called "Gorilla" on Message. It's on Marge, clifford. That label (group of labels, rather) was discussed and linked to somewhere earlier in this thread. http://disquesfuturaetmarge.ifrance.com/di...sfuturaetmarge/ ubu

Listening to this one (my only Murray so far): Pretty good one! The line up is Lawrence "Butch" Morris, Murray, Johnny Dyani, and George Brown. ubu

Perhaps you're listening for something that isn't there ('swing' in the traditional American sense of the term). You're also assuming that this 'swing' equates to 'heart', lack of it to 'head'. That's a common criticism of European jazz (and ECM jazz in particular) by listeners centred on the American mainstream (and I mean everything from Armstrong to Ayler and beyond there). But there are other ways to express 'heart'. Mahler doesn't 'swing' but he's full of heart. I'd say Stanko is drawing off a very different tradition from normal jazz (though there's that there too) ...and he (and scores of other European musicians) are doing that too. That's how they've come to find their own voices. I can fully understand that in many listeners minds they appear to have thrown the baby out with the bathwater. The very things they love in jazz are sacrificed in the interest of originality or distinctiveness. But take it from those of us who do relate to the likes of Stanko. The 'heart' is as much there as in anything by Coltrane or Davis or Hawkins. And, personally, I hear much more 'heart' in the music of someone like Stanko than in many of the contemporary musicians who continue to run through the blues/swing tradition and seem to be 'playing the part'. But that's just my ears. It's always dangerous to assume that musicians working in a language you are not familiar with or sympathetic too lack 'heart'. If I tried to read a volume of Lorca's poetry in Spanish I might conclude it lacks 'heart'. Bev, very good post! I'm completely with you on the part I put bold. But hell, they have such a *momentum* (to omit the word "swing" which might be mis-leading indeed), that no one who sees them live cares, really! Anyone with doubt about this should check them out live! ubu

No, I would expect some Americans to understand such things. I don't think it's ever been suggested that Europeans are 'way ahead' or whatever, after all, it is the great American art form we're dealing with. Carry on like that and you're in danger of offending us European board members. I don't think that would achieve anything or be of any benefit to anyone. Leeway, you had me laugh out loud! Don't take this so serious! If you find Stanko a bore and don't get him - fine. To each his own, I'd say, musical tastes are different, and we should be all the more happy about that. and to tonym: of course *some* - maybe lots of - Americans do indeed understand those "old world" "engaging products"! Derrida would not be half as famous today if not for his fame in the US. But all of this has nothing to do with Stanko, I think... ubu

Did you ever see him live? I saw him twice with his current quartet. Live, he's completely different. None of the estheticized ECM-sound etc. They were really hot last night. Nothing studied, and swinging like mad! Sometimes they reminded me a bit of Miles' second quintet (piano and drums, mostly, not Stanko himself). ubu

The concert on tuesday night was great! One of the best concerts I ever heard! The Stanko quartet is a real band, not just a leader and a backing trio. The man on piano, Marcin Wasilewski, is a great artist - he should get his own recording date! Bassist Slawomir Kurkiewicz has got a true, woody, warm sound on his bass - he plays without a pick-up, too! Then drummer Michal Miskiewicz reminded me of Tony Williams here and there, but I think he's pretty much his own man. He was really fuelling the group. Also hearing him live, with no ECM-mixing added, is great. They were really smokin', playing fast numbers more than half of the time, some pretty free stuff, too. A very impressive show! ubu

Great news, thanks for sharing, Gary! ubu

ghost, my concolences to you and to your family. You will be in my thoughts. ubu

I very well might, but more on a retrospective level - the concert here is on the next day after the one in Zürich. Uh, I thought it was before... sorry. I'll tell you how it was if I make it! ubu

I read an article about our ability to correct wrong words while reading - the title and the whole lead were wirtten copmletlely fcuked up, and you had no problem reading each word correct. ubu

so I'm back to groover status again or what? ubu

Have fun! I'll see the Tomasz Stanko quartet tonight (but I almost fall asleep now, already!) David, tell us how it was, might push me over the edge on April 1. ubu

Hey, AB - greatest avatar ever? Well, almost, I guess! ubu

Thanks for your long reply! These are the timings from the FMP site: 01. … all time, all time … 10:47 02. … I´ve got the map, I´m coming home 10:19 03. … Dan sing music/first part 20:09 04. … Dan sing music/second part 10:44 05. … I hear your voice again 16:49 Total time: 68:48 I don't have my disc at hand, but that's exactly what I have. What crap! Editing such performances! Bastards! Is "Mujician III" complete on CD? Otherwise I have to look for the LPs of all of them (there's a cool used LP store here - they might turn up there one day). This is Vol. 3: 01. I love you, Julie 22:56 02. August air 47:09 Total time: 69:49 Thanks a lot! ubu

I remember, but I don't know yet if I'll be able to make it (time & finances...) - thanks though for the reminder! ubu

Reinier, thanks a lot for this insight! I will definitely put these two on my list! And again: no offense intended! ubu

thanks, Reinier! No offense intended! It's just that if someone posts some information here, people (and me, too) want to know its origin. That's not personal at all. ubu

Two great ones (well, one great, one good, to be fair), at a nice price! Someone better pick'em up fast! ubu

Can you elaborate a bit on this - where did you get your info? Is it straight from Mosaic or is this well-informed speculation? It's an important distinction to me, because if you have it from Mosaic that this is the case, I will be pulling the trigger on the VeeJay sets very soon. Thanks in advance for clarifying. Same here. Please tell us more, Reinier! ubu

Let's hope this problem gets smaller after May 1st! But it probably won't, as Ukraine, Turkey etc. still won't be part of the EU. ubu

I started off with the recorder at age 6. Then around 11 switched to clarinet, later (17, 18?) to tenor. For me it worked, though I would like to be able to play a little bit of piano. However, I guess formal musical education here might be differing from what you have in the US. Moving/dancing never really played a part, neither did rhythm (except for trying to learn to count whilst playing - but that's a thing you do in classical music here. I never really found out how to do it, but as I never had any problems with rhythmic stuff, I don't care too much. I mean, I can figure out anything that I can't read immediately, so that's not a big issue). In my opinion, the whole music/dancing/singing thing should be integrated into school, BUT done by professionals. The problem here in Switzerland is that you do sing at school, but with your regular teacher, who might be able to sing, might not. Then he might be able to transport his abilities or not. Best would be to have children learn playing/dancing/singing right from the start, begin with percussion instruments, the recorder, or whatever might be useful, and also train the ear - that's one thing I still have problems with, as I never really learned that. ubu

I'm in the same boat as you, Gary. Love Hayes on this album! The only other recording I have is the one in the Kirk box - with James Moody as the third horn. Long time no listen, though. He also plays vibes, by the way. Where are the britons? Tell us what to look for! ubu