Late

That makes sense. Manfred likes a wet mix. I still wonder why he cut the track "Used To Be" from that 2-disc set. If memory serves, there was enough room to include it. Regardless, that ECM reissue is desert island stuff.

This album: ... is the one that should have made her more ... famous? Discogs lists it as "Blues Rock Avantgarde Experimental." Not a bad description actually.

Yes, that was in 2014, on both vinyl and compact disc. It appears to already be out-of-print. The compact disc had two bonus tracks: "Flashbacks" and "Anytime With You." Right — and the original text was great! First Pressing: Revenge: "The Bigger The Love, The Greater The Hate" Second Pressing: One of the best Annette Peacock albums doesn't even have her on it. (Well, she sings on one track and was present for the recording session.) I think a number of members here might own this 2-disc set. It's an excellent distillation of Peacock's work as a composer. Crispell is locked in with Peacock's use of space and suspended feel for meterlessness. Nothing Ever Was, Anyway If you only own one Annette Peacock record, I'd recommend this one (even though it's formally a Marilyn Crispell record). I don't know this one as well. Closer listening is necessary!

I think that, unfortunately, that probably had a lot to do with Revenge not getting the exposure it deserved. The "Bley-Peacock Synthesizer Show"? I can almost see people in the late 60's passing that one up in the bins. I still think people pass on it.

I'm so used to the ECM mixes that I never even considered a Verve mix. Are they considerably different?

Revenge is a great album. Better than great. No wonder Bowie wanted to record with her in 1972. She was making music in 1968/9 that he wouldn't make until a number of years later. She seems a direct and considerable influence on his vision.

Annette Peacock the composer. Annette Peacock at the keyboard (piano, synthesizer). Annette Peacock the singer. To this day ... still under-discussed. What are your favorite albums she's on? Or your favorite compositions? I stumbled upon this short documentary just today. An Acrobat's Heart is one of my favorite albums on ECM.

Some day, the most unheard iteration of the 3 ... Jimmy Giuffre, Don Pullen, Cecil McBee ... will be heard. This group rehearsed around 1966. There has to be a reel-to-reel somewhere! (Okay, there doesn't have to be, but Giuffre did own recording equipment.)

How to quickly wrap up an awkward Sunday brunch get-together:

The Columbia album ... reissued? I wish Mr. Uehlinger had searched out some European live recordings. There's a Tübingen concert from 1961 still out there, as well as a 1965 UK performance with Don Friedman and Barre Philips. Probably some other European radio recordings as well.

Agreed. I wonder if ideas had been brewing for a while. When Giuffre heard that Debussy trio for flute, harp, and viola ... I guess this is what instigated the transition to freer playing. (At least this is what I recall reading.) Was Paul Bley the harp part?

Received today! (Three titles.) Will listen over the weekend.

I need to spin the Stitt/Giuffre album again. It's been at least three years. Will report back after doing so.

Re-listening now. This album is as good as I initially thought it was. I have to imagine that Roscoe & Co. smiled upon hearing it. Well-recorded (live) and thoughtful.

This recipe? (Dig the cheesy trumpet music in the video.)

But what cocktail do you drink when you watch them?

I will buy anything that the Yosuke Yamashita Trio recorded. That first album from 1969 still gives me chills. Yamashita after that trio ... I'm not familiar with. Heckyeah. I'm just now exploring that world ... while simultaneously trying not to spend.

Ha! I love TTK's cocktail recommendations. I used to like to play Albert Ayler back-to-back with June Christy. I thought I was being oh-so subversive!

The bank can always freeze your account if necessary. Another album (non-Aketagawa) on Aketa's Disk is Masayuki Takayanagi's Angry Waves (the actual title is 850113): To me, this is Takayanagi's masterpiece. Granted, I haven't heard everything, but this record is beautiful in the most brooding, dark-energy sort of way. Never has a noise record (and I wouldn't actually identify this as a "noise record") sounded so musical. I'd give it a crown if I were contributing to the Penguin Guide. Certainly not for all listeners, and it can be an exhausting listen, but the depth of focus (at least to me) is amazing. A gentler Takayanagi record, recorded not too long before he died, is on No Business Records. It should still be available on eBay.

This thread has turned into a Recommendations thread. Whoops! (Oh well.)

I no longer collect vinyl, but I bet finding Aketa Disc stuff would be like trying to find original Saturn vinyl. Not easy! Octave Lab reissued nearly all of the Aketa's Disk label on compact disc in 2019. They went out of print quickly. Two titles have since been repressed from the original batch, I think. The remastered sound on the compact discs, all things considered, is quite good; I think almost all Aketa's Disk records were recorded live.

Great story! I fully understand what you mean by being "drawn into the mystique." Abe is almost the perfect character for such a setting. And, agreed, the multi-instrumentalism (particularly the harmonica) was perhaps not the best choice. I'm guessing he'd run out of his own vocabulary on the horns, much in a way, conversely, that Coltrane never ran out of vocabulary. (All those hours and years of practice were for a reason!) Do you already have Yoshisaburo "Sabu" Toyozumi's Message To Chicago? , b The tracklist is: 1. Roscoe's Tune 2. Malachi's Tune 3. People In Sorrow That gives you an idea of where his head was at: definitely an homage, but not fawning idolatry. I need to listen to it more! As for Aketagawa, make sure to check sound samples first. I don't mind his vocalizings (I happen to like Irène Aëbi, for context), but I can see how they'd drive most listeners insane. That said, I'd go for nearly everything on his Aketa's Disk label (though he's not on all the releases). As I hear his playing, it's more about breaking down inhibition — Aketagawa is no technician — as every (out-of-tune) note is bursting with wild emotion. I think players like Roland Kirk would have felt an affinity for Aketagawa. Monk may not have liked his playing, but I would still claim there's a direct line between the two. May as well list [at least] five albums, in order of personal preference: 1. Aketa's Erotical Piano Solo & Grotesque Piano Trio Have to start with this one, perhaps because it's his first. I really don't think Aketagawa has a "best" record, but this debut will give you an idea of what you're in for. 2. Trio (this has a different title in Japanese, but I never remember it). How could a person not love the cover? This seems to follow up right where the first album left off. 3. Alone In Tokuyama (pictured above) Solo work. A Stevie Wonder cover. Aketagawa's grunting voice overwhelming his own piano playing. Perfection. 4. Shudan Seikatsu For me, this is Aketagawa's most "fun" album. But definitely listen to sound samples first. There's a vocalist here (I wish I could read Japanese) that will likely turn most listeners off right away. Her sense of pitch is, um, relative. But this record probably also has Aketagawa's piano in its most out-of-tune state, so pitch isn't really an issue (I guess). The vocalist's scatting is so bad that it's wonderful. In a drunken state, one can even hail it as the best singing EVER. (At least I do.) The whole record is a crazy swirl, serious and playful at the same time. A Braxton-like march morphs into weird cocktail lounge swing. A solo track on ocarina. A stand-alone guitar + male vocal piece, which is actually quite beautiful. Conclusion: Aketagawa is for listeners with an accommodating sense of humor; hearing damage or complete loss might also be a plus when this record is spun. But make no mistake: this album is ALIVE. Aketagawa has a strange way of invigorating listeners with tolerant/perhaps slightly tone deaf ears. 5. Fly Me To The Moon Aketagawa's most pretty playing? Well, only if your definition of "pretty" is bashing the keys and "singing" over your own playing with such intensity that listeners might not be sure of what they're supposed to deal with. In other words, I love it.

Me too. His response was: yes, it would make a great Mosaic and, no, it probably won't happen.

That's pretty cool that you were into Kaoru Abe in your late teens! I like Abe, but a little goes a long way (as you probably already know). That said, I would search out his recordings with Masayuki Takayanagi (if you don't know them already); they seemed to bring out the best in each other. I really like Takayanagi, but, again, you have to be in the right place, right frame of mind. There's also an Abe release on No Business records which is worth hearing. I haven't taken to Watanabe so far, but I think I'm not listening to the right records. Definitely pick up Hino's Taro's Mood; there's a complete extra disc of bonus tracks. Also, Vibrations, which sounds like an Albert Mangelsdorff record without Mangelsdorff. Those are my two Hino picks. Then ... Hal Galper's Now Hear This and Bob Degen's Children of the Night. Sample Shoji Aketagawa first ... and if that works for you, go crazy! I'm a huge fan, but I understand how a lot of (most?) listeners will not have a taste for that kind of piano playing. To me, it sounds like Outsider Music + Thelonious Monk. Or, painterly, Art Brut ... a la Jean DuBuffet. I think Don Cherry would have loved Aketagawa's playing. Technical it is not, but that's not the point. He seemed to prefer out-of-tune pianos as well. Others here will have more Japanese Jazz recommendations, I'm sure. (Also, everyone has to have at least one Itaru Oki record! I'd recommend Mirage first. Very AACM-like.)