Joe Christmas

and then be king of the world.

No, Late, you hold on to that Altosolos disc and never let go. That there's some of my favorite Braxton and hard to top in terms of his solo discs, IMO. We can talk about the Santa Cruz.

the boy comes from good genes, that's for sure. Any fan of Wainwright might want to look into GREETINGS FROM MICHIGAN, from the equally talented Sufjan Stevens. Lots of similarities in the music of these two.

Weizen must be reading Mencken's "autobiography". He was dear friends with Huneker. They met for lunch frequently and it would not be surprising if they discussed all of those topics from one extent to another.

NyQuil. Woe is me.

Mark, at the time I started this thread I had near equal interest in three separate programs, knowing I would start one in January: Environmental Management (Oklahoma State), Military History (Sam Houston State) and Musicology (U. of Washington). I've since committed to the History program and am looking very forward to it. It is the most logical route for me right now, considering time and the effort it will require working somewhat full time. Going after Musicology at a later time is a real probability though. I'm excited and eager to get started anyway.

I took this bitch last Monday. Didn't do quite as well as I wanted to, but my score is plenty sufficient for the programs that interest me. Glad it's out of the way. Thanks for the support given here.

Man, I hope not. The tension should be immense and hopefully this will be a nice, tight game. It hasn't felt this good to be a Dallas fan in a long time. Right now I'm just killing time with an uneventful Miami/Baltimore game. Blah.

Normally it begins by staying away from threads like this one. Today I failed.

Oh man, the money you'll save. The Time-Life series is very good. My wife and I have used it for years. Home Depot also puts out a series that you might find very useful. Some tools that I would hyperventilate without: Leatherman multi-pupose tool English/metric ratchet set (the more sockets/extensions the better!) Studfinder Chisel (for spackeling and chipping among other uses) Duct tape!! Level Carpenter's glue Any power drill/screwdriver, cordless above 12 v Start a collection of pliers to include standard, needlenose, arc-point and wire cutters Wire stripper Fluke multimeter (to jump start the electrician in you) Electrical jig/sabre saw (they sell these in combination sets w/ cordless drills, but you might need higher voltage) Caulking gun Ready supply of PVC pipe and pipe wrench and PVC cutter My personal favorite, to augment any wrench set you have, the Ratchet Combination Wrench:

Haven't heard the Monoceros disc Chuck mentioned, though it consistently gets the praises. His more recent LINES BURNT IN LIGHT is quite enjoyable, as is SIX OF ONE. Both are readily available. I am loopy about Joe McPhee's AS SERIOUS AS YOUR LIFE. FOR ALTO is a common favorite of Braxton's, but if you can find a copy of WESLEYAN (12 ALTOSOLOS), jump!

Yeah, but to cite the area of Zorn's music that incorporates game pieces is to really stretch what you'd call a jazz setting. There are more definitive instances, particularly from European ensembles. Riley's early groups and Globe Unity come to mind. Also, I'm thinking specifically of "cues" rather than graphic notation read from paper, which by now is as legitimate as traditional scoring. But yeah, one wonders where someone like Threadgill, clearly an intuitive and inventive breed, was coming from. I can't recall reading more than one or two interviews of his and none of them mention this area of interest.

Maybe so, but not necessarily. I wonder exactly where they got their inspiration. Cue sheets and graphic or physical instructions/elements were all the rage back then, weren't they? Seems like those extra-musical methods really came into the fore of American jazz-based music around the time Air Time was recorded, though those practices weren’t anything necessarily new. Anybody know if Air did something similar in live performance? I’ve been to numerous concerts where cue cards and the likes are used. Aside from it turning music into somewhat of a spectator sport, when it actually “works” it can be exciting to hear and feel improv brought to new, radical levels.

Jim, I am somehow reminded of what a pleasure it is to discuss music with you. But then I don't think we ever discuss music.

Shit, the CONCEPT is silly! But it works, doesn't it? Your comments come pretty close to validating it for me, nicely put. But wait. It's SILLY!

So I should have put that in quotes. Uh, nobody likes a musician snob, Jim.

Dan, congrats. But a word of caution: don't be surprised if it doesn't run until later next year. Cadence historically has a nasty backlog of material, especially interviews. They have had an interview I conducted with Paul Dunmall since last March. Hillary recently informed me it would be published in the December issue. Fine and well, though some of the text might sound a bit dated this far down the road.

Not much to add other than this is one of my favorite Air records. Threadgill may still be writing timeless music, but the tease, "I'll Be Right Here Waiting" is one of the truly memorable ballads of the last 30 years. I did a double take when I first learned that it was McCall's. I'll also say that I love the funk-inspired riffs that tend to come out of Threadgill, and they're all over this record. But the hubkaphone is silly. That's right, silly. I like the way it's intonated and the fact that it's musical is a plus, but damn. I'd much rather that G.v.E was a solo bass tune.

I really like the bit on Hayes and Harriott. They sum up Coxhill nicely but seem to think he vanished after 1971! Then this: Bev, are they serious here about Evan Parker? He's talking strictly performance, in and about town?

Interesting review here.

David, I haven't heard the disc(s) you mentioned, but I can't imagine these 45's being like anything Mats has ever done. He takes the minimalist path for the most part, exclusively on baritone and tenor, save for a couple moments of Tourette's. Overall, I like them not for their musicality, but as a closer study of his extended techniques; there are few improvisers of the past 8 or so years with a language as immediately recognizable as his, IMO. So the opportunity to have a much closer, expanded look at the individual nuances of his playing is a valuable one for me. Last time I checked, the Brotzmann was going for $21 through DMG. You'd be better of for sure ordering directly through Millroth at www.olofbright.com This place is offering the Mats for 32 Euro, and the Brotz for 23. Whatever you do, having a relative feel for your taste, you must hear the Brotzmann at some point. It's wonderful.

I think DMG is carrying a few copies. I received mine direct from Olof Bright, which is probably cheaper.

FYI, these (fairly) new releases were reviewed at bagatellen. I'm pretty enthusiastic about them, especially the Brotz, and the vinyl sounds exceptional. Anyone else heard them?

You guys are too hard on yourselves.

I wonder if Heaney has bought tickets.