pryan

I believe Cadence is selling it for $95, plus shipping. I'll probably order it from them.

Bonne fête, Daniel! Happy b-day, Daniel. Canada is a bilingual country, you know.

Just got my November issue today, coincidentally. Haven't read the interview yet, but I have skimmed it; that's cool that you included a blindfold test in there. Must have been a fairly long discussion if they're splitting it up into two parts.

Thanks Chris and Hans, I'll definitely be checking those ones out. Dammit, this board is costing me money. Oh well, jazz is a good addiction to have.

Many happy returns, Chris! Raise a pint for me (a Canadian brew, perhaps?) Hope you have a great day.

I have three Braxton albums and enjoy his playing/concepts, but am still not totally getting it. I have FOR ALTO, as well as a couple of dates on Arista with Holland and Aschtul, one features Kenny Wheeler. One is FALL 1974, the other 5 COMPOSITIONS, 1975 (not sure of the exact album titles. One used record store in town has the Montreux doulble-LP, as well as a duet album with Muhal Richard Abrams (I think that's his name). How do these albums stack up to the rest of Braxton's voluminous output?

Dan, I think I know which interview you are referring to, and I am most looking forward to reading it. Congrats, sir!

Chris - Is that album with Jim Robinson still widely available? I've been really digging his playing on the George Lewis Mosaic.

Great interviews with Steve Lacy and Ted Sirota (an especially long, wide-ranging one, that really highlighted certain pertinent aspects of life and music in general). Many interesting album reviews also, including Osby's new live disc, the Ayler box, and a Brötzmann quartet album, to name just a few. One of the better issues, IMHO, and this is a publication that doesn't really have any bad issues. Check it out if you're so inclined.

Ha! Did you say, "Really?! How many sessions have you played on?" Or did you say, "Then why haven't you played with Trane for over five years"? This thread reminds me that I should really get this album; I've always been intrigued by the lineup and I know it's a minor classic, but for some reason I've never picked it up. A trip to the nearest music shop is in order.

I listened to disc 1 of the Impulse two CD set the other day, and Ayler's music really hit me in the gut, heart, and soul - all at the same time. I hadn't listened to his music in some time (and I never really "understood" it before), but that listen was an intensely good experience. Maybe I "got" it because I recently attended a Peter Brötzmann concert (see thread in "live shows" forum), and that show kind of opened my ears to what Ayler was doing back then. I think I may have to grab this box. How many copies are they printing?

Don't know if this one fits your definition but check out this link: Mary Lou Williams '70s album

Excellent! That's some good news to start the morning with. That Dex set is going to be sweet.

I like the nighttime too, often times more than the daytime. DIPPIN' is on the to-get list, that's for sure. Thanks for the tip, Jim.

I still haven't gotten around to getting this one yet, Jim. I know you dig it mightily, though, and that's reason enough for me to grab it. Kevin - I haven't heard DIPPIN', but doesn't it have basically all of the same ingredients that you list for SOUL STATION (ie. players, tunes, etc.)? It has Lee, Billy Higgins, and other BN stalwarts; from what Jim has said, the tunes are also excellent, something you would expect from an expert writer like Hank.

A very tough choice for me, not having heard all of his sixties output. Of the albums I have, I'd probably pick either ROLL CALL or SOUL STATION, depending on my mood; those two just have a certain swing and bouncy happiness (not to mention beautiful playing by all involved), that I find uplifting. Soulful hardbop at its finest.

There is also a very good interview with Lacy in the latest Cadence. It was done in 1988.

Happy B-Day, Chris! Many happy returns.

I believe both Alan and Maren are correct about the respective instruments. I'd never seen either of them before. The tarogato produces a distinctive sound, unlike that of a soprano sax or clarinet.

Thanks for the tip re: other Brötzman albums. I'll most definitely be seeking out more of his stuff in the future. Pliakas, the bass player, was using an instrument that had the end part of the guitar "cut off" (ie. there was no place to tune the strings). Near the end of the show he actually broke a string and subsequently didn't play as much.

The concert was an unbelievable experience. The trio played in a old movie theater in downtown Winnipeg. There was maybe 75 people at the show, max, but everyone was really into the music. Brötzman came out blowing extremely hard on tenor sax, with a sound that was just gigantic. The drummer, Wertmüller, took a solo on the opening piece that was like a volcanic eruption of the highest magnitude. His limbs were seemingly flailing all over the place, but the torrents of sound and the extreme colours that came from the drumset showed that he was, indeed, in control; the wildest drum solo I've ever witnessed. The bassist was really versitile as well, producing a variety of tones and effects that contributed greatly and enhanced the group sound. The leader played three reeds: tenor sax, what looked to be a metal clarinet (although it could have been a sax as well, but not a soprano), and a bass clarinet. His range of emotion and technical prowess was a sight to behold. Multiphonics were on display on a number of occasions, which was a technique I had never really experienced "live" before. The trio played two extended "tunes" at over twenty minutes each, followed by a short encore which clocked in at under five minutes. I bought a cd after the show entitled, NOTHUNG. It's a live date from 2001 with Wertmüller and William Parker on bass. I'm sure some of you have heard it; I haven't yet given it a spin. If this group stops at a location near you, make sure to check them out. Trust me on this one.

What are the comments about Rivers' playing? Do they also offer any explanation as to why they left off the other two concerts with Rivers in Japan that were recorded by Columbia? To quote Bob Blumenthal: "The Tokyo performance, which may not give a fair sampling of what Rivers brought to the band, was among the last of his tenure" (p.78). - italics are mine. also "Chambers [Miles' biographer, Jack] also suggests that the music was toned down for the Japanese" (76). -Perhaps Miles told Rivers to refrain from playing too "out". I'm not sure why they left the other two concerts off of the set; maybe because they were not "official" releases at the time.

I second that nomination. That's quite a tragic situation for Max, a true legend in every sense of the word. I'm going to pick up that album with Clark Terry, even though it may be painful to hear. Dan - I wouldn't be one to question Chris, especially when you take into consideration his journalistic credentials. Sure, he can't be 100% certain of the situation, but sometimes you have to trust your sources. In this case, it seems as though the sources are reliable (ie. they are not making stuff up).

I felt we needed a separate thread to talk about the music contained on this set (the other thread has kind of meandered into a discussion about bargain-hunting). I picked this set up this past Tuesday (the official release date in Canada), and have been enjoying it immensely. I think the comments about Sam Rivers' playing - soloing in particular - in Miles' band are unfounded. I quite enjoy his contributions to the "Miles book". I find his solos to be somewhat akin to his work on his own standards album, A NEW CONCEPTION, on BN. That Berlin concert really cooks, but you can tell it's just the begining of what was to become one of the best "bands" (total collaborative/cooperative groups) in jazz. Man, I'd sure love to hear some of those grey market tapes circulating around with the 1966-67 concerts. But, I digress, let's discuss this wonderful box set.

I went with my username because the other results were not as good. I am now: Supa-Hard Mint Flava!