robertoart

Good topic. Wyndham Lewis is definitely a 'tick'. I will be interested if there are many really significant practitioners in two creative fields. You have the Woody Allen kind of thing, ie major film maker who is proficient(ish) in trad jazz, so hardly a serious bi-artal. Then you have maybe the 'Pop-Rock crowd, who without wanting to be condescending aren't quite in the musical hemisphere of Coltrane or even Brotzmann. So you have Cpt. Beefheart who was a very very good painter, and recognised as such. Ronnie Wood Tony Bennett Anthony Quinn Tony Curtiss Paul McCartney etc etc. On a serious note, there was an Australian Trad player/painter called Dave Dalliwitz(sp?), who I have read mentioned on here. I know of plenty of well known Visual Artists/Indie musicians, ie, Mick Turner of The Dirty Three, and the connection between Rock and Art School has always been significant. But on a more advanced music - Visual Art spectrum? PS, I don't count Miles Davis' African doodles as 'significant' either.

Not if I see him first.

He's a punchy heavyweight on Breakthrough. You can hear the whole album on Spotify. Difficult pleasure.

And also...the Perelman paintings just aren't very good. They barely deserve anything more than lip service when considered beyond his personal creativity. They don't demonstrate anything like the kind of study and 'muscle' relationship that he so obviously has with his music. I doubt that anyone in this day and age really has significant things to contribute in both serious improv and serious painting in 'both' disciplines these days. Painting and Jazz/improv are two of the most demanding things. My experience with people who maintain practice in both art forms is that one will be considerably more developed and 'progressive' than the other. For instance, people with the kind of 'muscle' relationship to Painting Perelman describes, will often be competent or very good players of 'closed musical systems' like Be Bop or Trad or perhaps Classical Piano. But rarely to the musical-visionary level Perelman is. And vice versa, the 'art' of extremely dedicated and visionary musicians is usually devoid of any true robust Visual-art integrity.

A Post-Punk/Free Jazz guitarist once told me Monk peed his pants while on stage at the Sydney Opera House. I thought the guitarist (not Monk), was just being iconoclastic, but alas, it may have been true.

Actually she's either turned up to the gig with an arcane juke box or a an oversized clock. Typical bass player

Maybe you could interview him like Perelman.

What he said, plus why would you take a hard sell and make it harder by tying it to something else that was WTF for most? And fuck Ardorno/Oderono, to mash up Clem & Petey T. Funnily enough Adorno is as dense to read and achieve cognisance as seems to be the music of Evans for most people. But then again Adorno (cultural elitist though he was), was trying to think through the horrors of the Holocaust. What's driving Evans?

Just what is it with Free Jazz and Abstract Expressionism You don't have to go to Berklee to 'hear' Charlie Parker, but you do have to put some effort in. It ain't 'natural' unless you've been culturally weaned on it.

Perhaps so. But just saying his name sounds interesting.

Great LP but I'd actually file it among the then-burgeoning New Haven creative music scene. Maybe so, but was Michael Gregory not on the Wildflowers comp, perhaps there was some cross-polinisation going on? In the spirit of the OP's enquiry maybe you could elaborate? Well, New Haven and NYC aren't too far from one another... a number of New Haven cats played at the New York Musicians' Festival, so sure there was regional cross-pollination. And Gregory is an especially interesting character because he got into the Black Rock thing in the '80s with a group called Signal, which played in NY (and elsewhere). But Clarity is a very New Haven LP, even if it's not CMIF-related. (CMIF = New Haven musicians collective, Creative Musicians' Improvisers Forum) That's interesting. How does the approach differ between New Haven music, and music one might have encountered in a NYC loft. I have a few Michael Gregory/Oliver Lake albums, and also a very lovely - almost folk/jazz Lp, with a lot of singing. A very interesting musician indeed. Who I believe has started playing publically again recently. He was a bit of a mystery man from this far away actually. And a very talented guitarist/improvisor. Okay, the caveat being that the NYC lofts and the New Haven scene had a variety of musical approaches going on within them and that I am a bit young to have experienced it in the flesh, Leo Smith was an ex-AACMer living in New Haven and brought his particular sonic approach to a crew of young, like-minded New Haven musicians. The splintering of the AACM between Chicago and New York in the 70s certainly affected the lofts greatly so that leaderless ensembles developed with a more spacious approach to improvisation that I'd say was a far cry from the energy music of the '60s (though there were obviously holdouts). Egalitarian roles, little instruments and self-reliant spaces and musicians' organizations seemed to flourish more in New York at that time, and I think it is in great part due to the influx of Chicagoans. The New Haven scene was removed a bit from NYC and with Smith a kind of guru for those guys, a more studied granularity emerged in those musicians' work. Keep in mind that later Braxton collaborators like Gerry Hemingway and Ray Anderson were part of the New Haven scene, and Braxton paid frequent visits to town. This New Haven music is something I'm very interested in and researching as time allows. That's very interesting. Look forward to reading the research one day.

....seems to be a mis-reading of Adorno here. This sounds like Donald Kuspit's Negative Sublime take on Adorno's Negative Dialectics. There is much that is still relevant about Adorno. Especially in the moderately intellectual climate that contemporary Jazz/improv seems to be. The irony being that Adorno thought of Jazz the same way most would view Britney (or whoever the lowest common denominator is now).

Representing again are you Allen?

Well fairly old actually. But new to youtube none the less.