7/4

Jus wondrin--just how permanent was/is this lineup? I think Albert McDowell is new to this group, the band I saw in November "only" had two basses.

He's a repeat offender like Courtny Love. :rsly:

Ted doesn't do drugs. :eye:

...when someone is shot and killed, why don't they say "he was killed with a gun and bullet???? -_- to get to the other side?

Gone to Earth is amazing. I've been googling, but I can't find the quote describing Exposure as the Sgt. Pepper's of prog rock. I'd describe it as the White Album of prog rock. Exposure is diverse. The tune Breathless is Lark Tounges in Aspic v1.5 and the rest of the album is a mix of hard rock, ambient Frippertronics w/ballads and found sounds (spoken words). Gosh, I love this album.

http://www.organissimo.org/forum/index.php?showtopic=27943

GregK is the man to answer questions on KC. Except for the Exposure reissue (that I really have to listen to again), I'm not listening to them too much these days.

I think I listened to them once and filed them. I remember thinking how much more interesting the boots from the net sounded.

Well yeah...a great tune.

June 24, 2006 Music Review | Charles Lloyd and Sangram At the JVC Jazz Festival, Charles Lloyd and Sangam Keep Things Loose By BEN RATLIFF Charles Lloyd's new trio, Sangam, takes cooperation to its limits. Its music is largely improvised. Jazz cooperates with Indian music, but that's a reductive description: it's really just improvised song over loose composition, in which rhythm is taken to its boundaries of speed and precision and in other places presented fairly sparsely. At Zankel Hall on Thursday, in a JVC Jazz Festival concert, the band used drones, gauzy pop harmonies, fleeting funk, singing, and bells and shakers. There was a grand piano onstage for anyone who wanted to play it. None of the musicians is a pianist per se, but sometimes two band members played it at once. This may seem like a mess, especially if you haven't heard the band's album ("Sangam," recently released on ECM and recorded in 2004 at the group's first performance). But it wasn't. The prime condenser, energizer and focuser in the band, apparently, is the Indian percussionist Zakir Hussain, who started the concert playing very slowly and singing a few tones, as the band elaborated on a major seventh chord Mr. Lloyd was playing on the piano. Eric Harland stood at Mr. Lloyd's side, tapping rhythmically on the strings inside the piano, and then took over at the keyboard, turning the chord minor, while Mr. Lloyd played flute. This was benign throat-clearing, and it lasted 20 minutes or so. Then, at the start of "Dancing on One Foot," Mr. Lloyd played the tarogato, a kind of Hungarian version of the clarinet, and the rhythm began to gallop. Mr. Hussain, seated cross-legged on a platform behind his tablas, stared across the stage at Mr. Harland, seated behind his drum set, and they started the first of several blindingly rapid duets. Tabla players, using all their fingers, can play much faster rhythms than a jazz drummer holding two sticks. The wonder is that Mr. Harland decided to play on Mr. Hussain's terms, and found a nearly matching articulation in his own fast patterns. Finding a place to stop, and mysteriously agreeing exactly where to do it, they brought the piece to an abrupt close. As if it had been holding its breath, the crowd erupted all together. Mr. Lloyd, tall and aging and fashionably dressed in black, had a certain presence, but his playing — on tenor saxophone above all — contained its own charisma. His tone was often contemplative or balladlike, and the notes had an internal softness. But he played them at high intensity, sometimes recalling John Coltrane (in "Hymn to the Mother," a recurring set of intervals evoked "Chasin' the Trane"), using overtones and keening, babbling phrases.

June 24, 2006 Music Review | JVC Jazz Festival Not Notes, but Music at 'Herbie's World' By BEN RATLIFF The final stretch of “Herbie’s World,” Herbie Hancock’s hybridized JVC Jazz Festival concert at Carnegie Hall on Friday night, was as good as one could hope for. Following three other setups, the pianist came on stage with an acoustic quartet. It was Mr. Hancock, the saxophonist Wayne Shorter, the bassist Dave Holland, and the drummer Brian Blade. The performance only lasted half an hour, but they played an enormous amount of music. Not notes, but music. This was the abstract, volatile end of the jazz mainstream, perfectly well-practiced and coherent: these same four musicians toured together two years ago, and Mr. Hancock and Mr. Shorter helped redefine jazz’s mainstream during the mid-1960s with Miles Davis, and later in other projects. There were three tunes, technically speaking, but they kept changing color and character. In just about every bar there was a mystery door leading to some striking new idea. Mr. Blade kept changing his entire rhythmic bearing: not just the patterns, but the weights, shapes and gestures of his playing. Mr. Hancock played with taste and restraint, gapping his phrases and finessing the harmony. Mr. Shorter was just on. Not broken-water-main on--until the very end of Mr. Holland’s “Pathways,” when he played long, fast, swiping phrases on soprano saxophone over a band rhythm that changed between five- and six-beat patterns-- but fully lucid and epigrammatic. Mr. Holland, off and on, returned to ostinato figures—few bassists play them more authoritatively—but otherwise there was no feeling of anyone accompanying anyone else. They were making the best kind of counterintuitive music: playing hard, sounding soft. At Carnegie’s sonically sensitive Isaac Stern auditorium, this was doubly wise. The evening started with another short set of wise and concise playing--a little less abstract and more structured, but still powerful. It was a rare trio of Mr. Hancock, the bassist Ron Carter, and the drummer Jack DeJohnette. Mr. Hancock and Mr. Carter have played together a great deal in the past, often with Tony Williams as drummer; the three of them played together on a few records with other musicians. Nobody seems to recall them having worked as a trio before. They played Mr. Hancock’s “Toys,” and a version of the standard “I Thought About You,” its chord changes intact but each segment of the melody radically changed; the harmonic communication between Mr. Hancock, with his reinterpretive new lines, and Mr. Carter, with sparse, well-chosen notes, was something special. Mr. DeJohnette played beautifully, both for the band and for the hall, leaving sudden open spaces. In a surprise, they were joined on Mr. Hancock’s “One Finger Snap” by the saxophonist Michael Brecker, who has been ill for the last year with MDS, or Myelodisplastic Syndrome, a bone marrow disease. Mr. Brecker looked slightly tired, but otherwise gave it his all, playing long, tumultuous lines at full strength through the song. There was a set of piano duets on the Hancock standards “Maiden Voyage” and “Footprints”--as well as a short and heady free improvisation--between Mr. Hancock and the Cuban pianist Gonzalo Rubalcaba, and it was a remarkable exercise in keyboard touch. Mr. Rubalcaba can hit keys so quickly and lightly that it sounds as if he’s only plucking a string; it made it easier to appreciate Mr. Hancock’s softer, thicker sound. Mr. Hancock’s new quintet, taking up about a third of the concert in the middle, was a disappointment. It’s hard to stay current, especially when you’re a virtuoso; great technique and popular culture don’t mix easily, but Mr. Hancock doesn’t stop trying. This was a case of good musicians and bad aesthetics. Compared with the opening and closing sets, the set was weighed down by notes, tumbling from the five-string electric bassist Matthew Garrison and the young violinist Lili Haydn (known for her work with rock performers), and—slightly less so—from the guitarist Lionel Loueke. Mr. Loueke sang through an octave-splitter; Ms. Haydn sang a new-agey, original pop ballad in a tremulous, breathy voice called “Unfolding Grace”; then the electric bassist Marcus Miller joined the group for some dense, glutinous funk on Mr. Hancock’s “Chameleon.”

He was married to Morticia Addams. Schwing!

This is a terrific performance by one of CT's best bands. Welcome to "that" club. Amen.

I didn't get very far with that one....

When I quit them 10 years ago, they were very clingy, but nothing like this.

That riff from the Jack Bruce, Jim Gordon, Frank Zappa jam off Apostrophe('), the begining of Montana...usually it's just a riff from a tune, but earlier when I was trying to go to sleep, I was replaying a good chunk of some ragtime show tune I heard a few days ago.

I'll toss in free improv = Derek Bailey, Evan Parker

Poeme electronique video

They did that when I saw Rainbow with Richie Blackmore in the early '80s.

all the best!

He also on Unity.

June 19, 2006 Family of Late Jazzman Sues Dance Club By THE ASSOCIATED PRESS Filed at 9:14 p.m. ET NEW ORLEANS (AP) -- The family of the late jazz pianist and composer Hilton Ruiz has sued a Bourbon Street dance club, saying he was attacked and beaten there and the club's bouncers failed either to protect him or to help him afterward. The club's manager denied the accusations, saying ''We have no knowledge of that whatsoever.'' Ruiz, 54, of Teaneck, N.J., died June 6, about 2 1/2 weeks after he fell in front of the Club Utopia, named as the defendant in the negligence lawsuit filed by his daughter, Aida Ruiz. He excelled in a wide variety of styles from Afro-Cuban rhythms to the blues, and had come to New Orleans to make a video to go with a benefit recording for Hurricane Katrina victims. ''We are very confident there are people out there who are aware of what happened to Mr. Ruiz in that club in the early hours of May 19,'' attorney Scott Galante said Monday. ''We are urging people and pleading with people to come forward to my office or the New Orleans Police Department with their information.'' After he had been in the Utopia for several hours, the lawsuit alleges, Ruiz was attacked by several people. The club's security workers ''failed to intervene in any meaningful fashion,'' or to call an ambulance for Ruiz, but instead threw or escorted him out and ''abandoned'' him even though he was clearly unable to make his way to safety, the suit alleges. Utopia manager Fred Woodruff said that, as far as he knows, that never happened. He also said that he had not heard about the lawsuit, which was filed last week in Civil District Court. Woodruff said he has not reviewed the club's security tapes, and police have not asked to see them. Galante said, ''Obviously, it's something we're seeking,'' but wouldn't comment when asked whether he had asked the club for its tapes. Ten days before Ruiz was hospitalized, an altercation involving five people inside the Utopia led to a murder just outside, police have said. In that case, a man argued with three women who refused to accept drinks from him, hitting one with a bottle and punching another, and then shot and killed the man who escorted the women outside to wait for an ambulance, police said. Police have said they first investigated Ruiz's injuries as an attack, but witnesses and other evidence all indicated that Ruiz fell early May 19. He never regained consciousness. Police spokeswoman Bambi Hall said the department is cooperating with the family's lawyers, but stands by its investigators' original conclusion. ''We can't speak to what Utopia did or did not do,'' she said. Mary Howell, the first attorney retained by Ruiz's daughter and ex-wife, also named Aida, said while Ruiz was still alive that his family was convinced that Ruiz had accidentally tripped or fallen. But the younger Aida Ruiz then retained Galante.

The same to everybody. I don't have kids, but I do have a Dad and I love him very much.