Alexander Hawkins

Agree about Jarman's compositions - in another world, Ericka would be a 'standard' - really beautiful tune!

I gather that it was certainly Murray who called the guys in the band... Collective or not, what an ensemble!!!

Wow - extraordinary independence, especially in the introduction.

All the more reason to get out of town & start dancing. And sincerest positive thoughts (sent in various forms, some of which might be considered "prayer") to George Cables. His Rhodes work on Rollins' "Poinciana" is for me the sweetest sounding example of that instrument on record, bar none (but you gotta hear the LP to hear it right). That was my first exposure to him, and it still tickles the ears in a most pleasurable manner. To derail the thread in another direction, is that a Rhodes? I haven't listened in a while, but my recollection is of a rather different sounding EP. Or, to put it another way (sincerely), if that is a Rhodes, I'm going to get tinkering to get mine sounding that way!

I think it's 'Signal to Noise'!

I'm secretly impressed with myself that I managed to pick Wierbos by virtue of his doing something other than taking his horn apart

Scrub that, actually...could it be this project?

Oh, what bugs you about the head? -- I picked this track in part because it's the one that's least "typical" of the particular stylistic school this pianist (idiosyncratically!) belongs to. I like his tunes, though! First couple of times through, it felt like it wasn't a stylistic match for the blowing: as angular ideas go (which I love), a bit more downtown-y than Hill-y, which didn't feel right in the context. Have just put it on again though, and perhaps my comments were hasty - liked it much more this time around. As for the last track...Could it be Steve Beresford on piano? Or maestro Weston? Tricky...when people get their humorous thing on, sometimes all that gives them away on piano is touch, and I can't place this...

and the rest... 7) I really really like the piano player. Great angular, rhythmic comping…nice dark voicings, and refreshingly unpredictable in his solos. Out of an Elmo Hope-Herbie Nichols-Andrew Hill lineage. Not, I think, Frank Hewitt, but of that ilk. Really nice drumming, and an absolutely gorgeous set of cymbals. I enjoy the horn player – nice fat tone, and a pleasingly straight (although still inventive) foil for the piano. Can piano playing be vocal? If so – this is vocal piano playing – e.g. that hiccough/laugh at 7’40”. Beautiful! FWIW – my least favourite aspect of this is the head. 8) I should know who this is. But I just can’t place it. Too much going on, I think, for it to be Phil Wachsmann (and too brash?), although similarly subtle use of electronics (e.g. 0’28”). Some extreme technique on display, and few have the mastery of the instrument that Phil does…Nope, I dunno. I would think it’s a European – Zingaro? 9) Not too convinced compositionally by this at first…seems a bit disjointed. It’s growing on me, however. Some lovely voicing and sonorities though. Sounds a little bit like a tamed Nels Cline group. It’s not that, and I don’t know why I think that, but anyway…trombonist at first risks drowning in his own reverb…There’s a certain elegance to the group sound I love, and the trumpet’s vibrato at 7’50” is wonderful. Great at 8’40’ ish how sax and ‘bone both land on the multiphonic. Beautiful Ellingtoninan voicings at 9’40”. The more I hear this, the more intrigued I am. I’d love to check out the band in other moods, too! I can’t help but feel the band isn’t entirely North American. Feels like there might be a Dutchman or 8 in there. 10) Sounds like bowdlerised Anthony Davis. Pheeroan on drums having been told to behave. I don’t know…a fairly extraordinary piano introduction though! Totally rubbery limbs (assuming it’s one player? Might there actually be two?). This somehow doesn’t do it for me, but it is fairly interesting. Probably need a few more listens here…Hang on, surely that’s two pianos? Still don’t know who it is though. 11) Sounds like pesky Europeans to me. Probably Dutch. Wierbos, Oliver (we’ll count her as Dutch), and someone…Not Misha, obviously. No, I just don’t know. It’s fun though! Great disc, Nate, thank you so much. And I’m really interested to see how this thread develops. I’m sure I shall learn and kick myself in equal measure.

Some thoughts on the first few tracks. 1) I have to say, I had no idea who this was, but of course a quick search for the lyrics revealed the answer. Interesting! The harmonies in the arrangement made me think of some of the Real Group’s arrangements, although the execution is light years from theirs (I don’t mean any value judgement by this!). Interesting approach…is the album some autobiographical concept-piece? I like the cello line. I’m not sure I enjoy this too much, although the more I listen to it, the more curious I am…I like the altoist’s tone a lot! 2) My initial thoughts here were anticipation…when will Fred Anderson enter? This is the modal groove of ‘From the River to the Source’ etc…I fancy the guitarist may be Jeff Parker? Nice inventive playing, whilst staying firmly inside the tune…The panning of the drum sound is really odd, to the extent that I’m doubting myself – I take it there’s only the one drummer, but I can’t swear to it. It’s not Hamid Drake I don’t think (a little too much going on, and I don’t think the drums sound like his, especially that dark cymbal); perhaps someone like Michael Zerang? It IS a nice kit sound though; toms sounding almost like frame drums. Could that be Josh Abrams on bass? Or Harrison Bankhead? I like this track a lot. 3) Bright Mississippi. I think a number of Monk tunes can work very well over more contemporary grooves (this one is a slightly interesting one – afro-cuban funk…) – although the concept has to be deployed sparingly IMHO: the compositions have so many rhythmic implications of their own that too much messing can lose the point. An album I love is Arthur Blythe’s ‘Light Blue’, where there’s a bit of this going on. I think we’re listening to this here. I really like the rhythm section – it’s definitely in the pocket, and staying there. Horn soloists I can take or leave, I have to say. Pianist isn’t too bad, but not doing much for me. But nice rhythm playing, and a killing tune. 4) Are we listening to an acoustic bass guitar at the start? Hang on, no – probably actually one guitar with some extra strings at the bottom. My first thoughts – very post-Threadgill, compositionally. Brings to mind things from ‘Song Out My Trees’ (‘Over the River Club’ or ‘Crea’, for instance). Could it be someone like Brandon Ross or Liberty Ellman in an ‘out’ mood? 5) Not too keen…just lacks a bit of fire…I think predictability can be a virtue (that’s how vamps work, after all!), but only where there’s some counterpoint from somewhere. Trumpet player has a big sound; in fact, could it be a cornet? I like the tone. Just not sure who this might be. Tune sounds like it could be an Osby or Steve Coleman…Jury’s out for me. I get the impression the players could really take off, but it’s not happening here. 6) I like this a great deal! An excerpt from a larger piece. Wonderfully subtle electronics/accordion/harmonium/something-or-other going on at the start. In fact, that first few minutes is not so dissimilar from moment’s in Bruise’s stuff, with Ashley’s soundscapes...I can’t place the tune…sounds like an Ayler one, but don’t think it is. Damn, it’s incredibly familiar. This also brings to mind (particularly in the opening) Harris Eisenstadt’s wonderful Ahimsa Orchestra, as well as the Exploding Star Orchestra. It’s neither of these (in passing – Nicole Mitchell is IMHO an amazing addition to large groups – the colour she lends ESO and Braxton’s 12+1 tet, to name but two, is awesome). I also have in mind Steve Swell’s large group, maybe even a William Parker large group. Part of me wants to say, albeit timidly, Brotzmann’s Chicago 10-tet, but I just don’t know. Nice track – great variety of feels from the fantastic drummers/percussionists.

It's also fun to hear Pule Pheto play some completely unhinged piano! Agree that Tern is a great date - Larry Stabbins is completely un(der)-heralded, and is great IMHO. Don't know if people are aware, but Evan Parker is preparing another 'Foxes Fox' (EP, Louis, John Edwards, Steve Beresford) album for release. It's a fantastic band, and - having been at the gig where it was recorded - it's some fantastic music...Depending on what portions they choose to release, Kenny Wheeler might be on it - he sat in for one set.

I think 'Song For...' is extraordinary, well up there with the other early Delmarks, and as with those recordings, downright remarkable when one considers the recording date. I possibly enjoy the other, 'As If It Were The Seasons' a little more - some fantastic Muhal Richard Abrams on there... I'd second the recommendation for 'The Magic Triangle' with Pullen and Moye.

Some tasters here, for those unfamiliar!

Exactly! A serious case of 'what's the point' coupled with 'missing the point'...

I *finally* got this one yesterday from Honest Jon's. I've only played it 3 times but I'm loving it. Thanks for the recommendation. Yeah - this is a nice one! Lots of great Dudu. And some fine Caribbean drumming!

Lots of FMRs are available from FMR (www.fmr-records.com) - including Outback, currently on sale. Don't know a thing about reissue politics etc., but FMR are totally legit AFAIK - certainly with new releases - they just put my record out!

Really sad - hadn't heard until now. He was a phenomenal player; and a huge loss to all of us he hasn't gigged for so long. Get him and Louis Moholo on the same stand and things really started happening!

Believe me - even money says that guy was just late from Friday

Arrived yesterday, thank you!

That is the consensus (one that is well-nigh unanimous). True. It is widely considered his best but there are others that I am probably more likely to reread. Novels such as 'A Wild Sheep Chase', 'Norwegian Wood' and 'South of the Border, West of the Sun' are less ambitious but hugely enjoyable. Of those I've read so far, I've enjoyed Dance, Dance, Dance the most; probably Kafka on the Shore the least...

No idea, I'm afraid - but the performances are great - thank you! p.s. the Barron tune is 'Rhythm' changes, if it helps...

Of course they're related. Sorry - I misread your initial comment. What I meant to say was that I don't think it makes sense to talk of sociology being more important than musical content, since musical content is a function of the sociology. If sociology were to be 'more important' than musical content (however we'd recognise this), it would simply show 'bad' sociology. p.s. edit for poor grammar!

Agree completely. I think music criticism in the 1970s played a role in this. For many of those critics, sociology was more important that musical content. I disagree - I think musical content and sociology are necessarily related - for which reason I would go with the second half of Chuck's statement ('relate the two in a constructive way'). There's an awful lot of very banal sociology, of course, but it doesn't mean it's the wrong way to go!

:rofl:

The low clarinet in that looks much more like a bari than a tenor (because of that extra 'plumbing' in the neck)...as to which clarinet it actually is - I dunno, and no real reason to doubt that it is a variant of the contrabass, save that when I saw Braxton play contrabass 6 weeks ago, it was wound very differently...Mind you, maybe this is a manufacturers' thing, e.g. Selmer v Conn?