sonnyhill

1. In 'n Out (this one is underrated in my opinion and is one of my very favorite Blue Notes and I don't write that lightly) 2. Our Thing 3. Inner Urge As an aside, I always bunch Trompeta Toccata (KD)*, Una Mas (KD), In 'N Out (JH), Our Thing (JH), and Page One (JH) together as albums co-led by JH and KD. KD and JH were one of the all time great trumpet/tenor front lines. *led by

WKCR's memorial broadcast will be continuous until next Wednesday 6/17/2015 at 9:30 a.m.

I do not think anyone who loves the music is rooting against Kamasi. I hope he sells a whole bunch copies of the recording and that other labels that traditionally do not release "jazz" records follow Brainfeeder's lead and release their own "jazz" records. With respect to Halvorson -- different strokes and all that -- but to me, she is already a "made" woman. She has put in enough good work over the years to be considered amongst the vanguard of improvised music.

and I wonder whether that there is not the key for other folk's negativity. I'm not saying it's the key to your opinion as you've clearly heard the album and made a judgement - your 'watered down' is not dissimilar to my own 'not shy with its influences' I suspect As for that teenager? I'd be tempted to give them a Mary Halvorson album Halvorson would definitely be a great choice. I live in the NYC area and go to the Vanguard 3 to 4 times a year. Halvorson is NY based and deserves a week as a leader there. (I have sampled, but have not really listened to those Walt Dickerson/Richard Davis Steeplechase sessions; I need to rectify that)

I disagree. When I listened to The Epic, I heard a "watered down" version of things that I had already been done. That in and of itself is not a bad thing. If serves as a "gateway" album to young people exploring jazz more, it definitely is not a bad thing. It is not a bad album, I just think that the praise that it has been receiving is overdone. If a teenager came to me who had never really listed to jazz before asked me to recommend "recent" recordings I would point that person to something like Roy Hargrove's Earfood or Aaron Park's Invisible Cinema. I do not think the views expressed about the album are a product of suspicion of the popular; it's about the content of the album. If a Gerald Cleaver or Mary Halvorson record were afforded the same "buzz," I don't think you would see the same negative reaction. In a way it is kind of off putting that just because Washington is affiliated with a rapper, he gets to be treated like some sort of monarch of jazz.

Yeah, i'm really enjoying it. I've probably already spun it more times than i've spun Functional Arrhythmias, which to this day is an album that i like more than love, although i think i got off on the wrong foot with it and sometimes that can be hard to get around no matter how hard you try. Honestly, if had to choose just one Coleman Pi album at this moment it would be Synovial Joints. They all have a different flavour for me though, even the first two which appear to be the most similar have a different vibe to me. A lot of the things that i like about this album are the same as i've liked about other recent Coleman albums: the solos are compelling to me, the compositions do it for me and i find them interesting, i like that there's a groove but we're not in Kansas anymore, i like that it's funky but again it doesn't sound like it's overtly trying to be FuNkEe in a corny way. Talking from memory here, the first two Pi albums could be a bit 'wall of sound' at times, and with the larger personnel on SJ i was kind of expecting something almost Exploding Star Orchestra-like but in a Steve Coleman stylee. I've been pleasantly surprised by how spacious SJ is, how the strings come in and out and add interesting colours when needed but don't overwhelm. It almost sounds 'programmed' in a way, a copy and paste method, like he's got a pallete in front of him and he's constructed the music from that palette without blurring the colours all in to a sonic mush. Xybert, that is an excellent description of Synovial Joints. I ignored Coleman for years. After listening to Synovial Joints, I have been downloading material from his site and checking out concerts on You Tube; there is a really nice concert posted from Cully Jazz Festival from 2013.

I heard samples and decided not to purchase. In my opinion, a lot of hype, but not much substance compared to so many other things that are out there. It is not terrible by any means. Ethan Iverson's post about the album is an accurate assessment in my opinion. I'd rather listen to Africa Brass. It seems to be selling well though, so I hope Mr. Washington is enjoying his success. I've listened to his first album, but I really don't see the what all the hype around Kendrick Lamar is about. I like You're Dead and the other Flying Lotus albums. Those are worth checking out if you haven't.

Your post only proves my point. One could add dozens and dozens and dozens of other potentially relevant "facts not known" to your list. A written agreement signed by Ornette during the time that he was capable of entering into an agreement giving authorization to use the recordings significantly decreases the amount of "facts not known" that become relevant. You've got it backwards, a settlement is the most practical and prudent thing to do in most litigation if factual issues become relevant. Trials are more often that not the Brian Williamsy emodistraction.

Then what is the real story? They either comply with Ornette's (or his representative's) request or not. They chose the latter. If they have a signed document that gives authorization for use of the recordings of Ornette (and Ornette had the capacity to enter into the agreement when it was signed), one of the central questions presented is resolved. If they do not, it's a he say vs. he say (and one of the "hes" is a genius who has been adjudicated by the New York State Supreme Court to be an incapacitated person in need of a guardian). In my book, the tide goes to the genius and his wishes should be respected; the non-geniuses should have stepped off when they were told to do so. Lawsuits like this are far more stupid than most people can really imagine. Both sides will likely spend (and might have already spent) more on lawyers than the profit that could ever be recouped on sales of the disputed recording. There is nothing Brian Williamsy or "emodistraction" about that. Those are the facts.

Just my opinion. If Ornette Coleman or his legally appointed representative requested that production of a recording made under the circumstances that seem to be apparent here be discontinued, it should have been pulled simply OUT OF RESPECT for Ornette. The man is 85 and he has more than earned that type of deferential treatment for all that he has done. I have not heard anyone claim that they had Ornette or his legal representative's written authorization to use the recordings of Ornette. If there is a writing, it would likely put to an end speculation concerning the basis upon which the persons releasing the recording were relying upon to release it. However, even with written authorization, if Ornette or his legal representative told them to stop, in my opinion they should have just complied. You can be within your legal rights and still be unequivocally wrong.

The material is definitely worthy of a proper legitimate release. Does anyone have any idea why this material has never been fully released by RCA? Given the differences in public domain laws in various countries, one would think that RCA (or whomever owns the rights) would have released this material a while ago to stay ahead of unauthorized releases.

What's more interesting to me than the bootleg is that Denardo was appointed Ornette's legal guardian in 2013, which seems to indicate that Ornette has experienced difficulty in managing his own affairs. He is 85 and there are a lot of people out there who would seize on an opportunity to take advantage of him. Given what happened to Cecil Taylor and the Kyoto Prize, it is probably for the best. However, I hope it does not mean that he is no longer able to perform before audiences.

That's not what I meant. Sometimes the NYT is engaged in 'the advocacy of "so-called" progressive causes.' More often than not, though, in recent years especially, it is engaged in protecting and advancing what it perceives to be its own image and interests, and the resulting behavior may not be "progressive" in any sense. Thus, for example, allowing/encouraging Judith Miller and Michael Gordon (and columnist Tom Friedman) to sell their readers on the existence of WMD in Iraq and the need to invade that country was, as Karl Rove himself has explained (he having doped out how to manipulate the Times and other similar media outlets beforehand), basically an attempt by the Times to avoid being painted as a fundamentally liberal "outlier" paper amid the burgeoning neo-con New Reality of the Bush administration. Apologies for the misattribution Larry. Thanks for the clarification. I believe that lately the NYT engages in advocacy in its news reporting that, I believe, does not equally present both sides with respect to certain issues that are generally seen as "progressive issues" -- e.g. same sex marriage, immigration, race relations, campus rape. I am a subscriber and notice too often that the NYT's purported news stories on these issues amounts, in my opinion, to advocacy in favor of the "progressive viewpoint." That is not to say I am always opposed to the viewpoint being taken by the NYT, but that I feel that hamfisted advocacy should not be permitted in news stories and material information with respect to both sides of an issue should be presented.

me too. listening to it right now. Me three. I listened to it this morning. I will be downloading more of the material from the mbase site. I hadn't listened to Coleman much before, but since I have been listening to him, I can say I believe that the MacArthur "Genius" committee got it right this time. He has been at this a long time, influenced many musicians, and has obstinately remained true to his vision. He should have received the grant before Zenon, Moran, or Iyer -- and there are many others that should have received it before those three. When Iyer won it, Ethan Iverson commented on his blog "Do the Math" that Coleman should have been awarded it before Iyer because Iyer was influenced by Coleman. Voila -- it was issued to Coleman the next year. If the committee is righting itself -- I believe that Threadgill has not been blessed with the grant. I also agree with Larry Kart above concerning the NYT. The NYT's journalism has morphed into the advocacy of "so-called" progressive causes in many troubling ways. Even though, I am, in many cases, not against the causes that the NYT advocates for, that advocacy should not be masquerading as news reporting. I saw Coleman earlier this year at the Jazz Gallery and will be there when he is at the Vanguard in the fall. It's nice that the Vanguard's booking policy has loosened up. I saw Trio 3 there earlier this year. John Zorn has been there a couple of times recently. It would be great if, going forward, there will be a more open-minded selection of artists at the Vanguard.

Tyshawn Sorey Double Trio at Roulette. Tonight.

Another vote for the Rivers Tuba Trios. A reissue of all three lps would probably be a 2 cd set. It would be great if those lps could get the International Phonograph treatment.

I saw them last night at the Arts for Art Evolving Series at Clemente Soto Velez. The band waited for about 20 minutes, but Cooper Moore failed to show up. Even without him, the band was great. It's like heavy metal "free jazz." Check out the album if you haven't picked it up yet. I hope they have the opportunity to do another one.

Just sent payment via paypal.

I was shocked when I read that about his FIRST appearance! I was at the Vanguard last night at the Trio 3 performance. At the outset, Cyrille announced that he and Workman had been at the Vanguard on many occasions with various luminaries, but that it was Lake's first appearance. He has probably made that announcement the entire week. The members of Trio 3 are all over 70, but like their AACM brethren, they are playing music with more vitality than most of the musicians who play the Vanguard on a regular basis.

Have you read his Bleeding London? I've been meaning to read that forever (and moved it like 4 times). I think I'll finally get to it this spring. I'm also taking a bit of break from the serious stuff and am reading Lauren Beukes' Zoo City, which is sort of a future fantasy novel where people who commit terrible crimes are paired up with animal familiars -- and are then ostracized. It is notable mostly for being set in Hillbrow, South Africa. The set-up is hard to swallow, but it moves along quickly. Looking at a list of his novels, it appears that the only one I've read is A Knot Garden. I enjoyed that one much more than The City Under the Skin. The City Under the Skin has a cartoon-like quality to it which doesn't appeal to me. I just read The City Under the Skin and agree with Paul's sentiments. I am currently finishing The Sound and the Fury by Faulkner. Can anyone recommend a non-cartoonish, good mystery/thriller from the last five years or so? Thanks.

This has trumpet and trombone w/ bass and drums. I wish there were more recordings with this line-up.

Could someone point me to some recommended recordings of the Schnittke piano sonatas?

I went and, as usual, enjoyed myself despite the frigid temperatures and the lines at some of the venues. On Friday, I started out with Wallace Roney at the Bitter End. I then checked out the end of the Donald Byrd Acoustic Electric at Le Poisson Rouge and some of the ICP. I then headed over to the David Murray Clarinet Summit at Minettta Lane. I then headed back to the Bitter End and caught some of the Brandee Younger set. I then waited a long time at Minetta to get into the Trio 3 w/ Vijay Iyer set; I got in just as they were getting started. I then headed over to Carroll Place to see Eddie Henderson Silver. After that, I headed to the Players Theater to catch the Marquis Hill set. I then headed back to Carroll Place to check out Anthony Pirog w/ Michael Formanek on bass and Ches Smith on drums. I ended the night at Judson at the Improv sessions, I left in the middle of Brandee Younger and Myra Melford. On Saturday, I started out with Myra Melford at Zinc Bar, which is a small space and was difficult to get into during the festival, so I got there early. It was good, but kind of subdued. So I left in the middle and headed over to the Players Theater to catch Dan Weiss Large Ensemble. I left there early and headed over to Minetta to see Amina Claudine Meyers. I left there in the middle of her set and headed back to Players to catch Darius Jones, who was execellent and played music from his upcoming album. After that, I headed over to Judson to catch Ambrose Akinmusire. I really enjoyed his set -- I think that his recordings try to do too much. It would be nice if he released a recording in the same vein as this set -- trumpet with rhythm section playing original tunes. I then headed over to Subculture. I parked there for the rest of the night. I caught the end of the end of the SFJazz Collective. I saw the entire Harriet Tubman set. I then saw the JD Allen Trio, which was easily the set I enjoyed the most. He played with his longstanding trio of Gregg August on bass and Rudy Royston on drums. The trio played with utmost confidence and majesty. They played material from the trio albums and did not play any new material. I ended the festival with trumpeter John Raymond's Roots trio. I had heard of him, but I never heard Raymond play before. I was very impressed. He had Gilad Hekselman on guitar and Rudy Royston stayed on stage from the previous set on drums. The repertoire was pop tunes. Raymond said that he recorded an album of the material with Colin Stranahan on drums instead of Royston, which will be released later this year. They played tunes including Simon and Garfunkel's Scarborough Fair, Eraser by Thom Yorke, and ended with a hymn. There is always room for improvement, but given the complicated logistics that are undoubtedly involved with putting this event together, I think the organizers deserve a lot of credit.

Thanks. I was looking for something like this.

I liked Lathe of Heaven a lot also, but I did have issues with the ECM production values. To my hearing, the music was not allowed to "breathe." I am one of those who have that issue with many, but not all, ECM recordings. I have heard Mark Turner live on numerous occasions and have always found him to be an interesting and entertaining player.