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Face of the Bass

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  1. Just thought I'd post this here. I traded this away a couple of years ago and shouldn't have. I've got a couple Mosaic box sets to offer (Chu Berry, Parker Benedetti) as well as the Cecil Taylor set on Codanza if anyone wants to make a trade, although it is somewhat difficult for me to imagine a Cecil Taylor for John Patton swap.

    Anyway, I'm not in any rush, but if anyone has one they'd be willing to offer, please send me a PM. Thanks!

  2. I've found a discographical discrepancy that I was hoping somebody could solve for me. The liner notes for Jimmy Cleveland's 1957 recording on Emarcy say that the bassist for all seven tunes on the album is Eddie Jones. However, the online discography here, at www.jazzdisco.org, indicates that there are two bassists on the album. For the December 12, 1957 session, which includes three tunes on the album, the bassist listed is Paul Chambers. For the Dec. 13th session, the listed bassist is Eddie Jones. Anybody know which is right?

    Thanks in advance!

  3. Well, it would be wonderful if it happened. A year ago I toyed with the idea of starting to do research on a Paul Chambers biography, but other projects got in the way and it never took off.

    IMO, though, the European Free Improvisation scene of the last 40 years really needs an authoritative account in English. Heffley's Northern Sun, Southern Moon is interesting in parts, although I don't agree with much of his analysis and think the book is more an intellectual exercise than a proper history of the EFI movement.

    Han Bennink

    Misha Mengelberg

    Peter Brotzmann

    Evan Parker

    Peter Kowald

    Joe Maneri

    John Stevens

    all had or still have amazing musical lives

    I agree with this. And of course writing a book on a deceased figure is a different kind of project than writing one on a musician who is still very much active and evolving.

  4. Nolan's book is no bargain IMO. In particular, his overuse of emphasized words in quoted speech -- e.g. "So I said to Lou Fromm, take it down a little or you're fired" (not an actual quote but my recollection of how things go) -- is not only maddening in itself but also tends to make everyone sound the same. That is, if Shaw himself spoke that way, OK --though if he did, I'd appreciate a note to that effect from the author. But when everyone speaks that way, it feels like a damn carnival ride.

    I agree with this. I found the italicization of so many words so irritating that it actually caused me to put down the book. Really unnecessary intervention on the part of the author.

  5. OK, so....here's a confession: I can really only think of one "Avant Garde" box set I own, and that's the Sam Rivers Mosaic set. Of all the eras and genres in jazz, Free Jazz and Avant Garde are so poorly represented in my collection compared to big band and small group jazz. I took a listen to the Braxton and Threadgill sets on the Mosaic website and wish they had longer sample tracks. I know this is a "Favorite Free Jazz" box sets thread, and I don't want to hijack the thread, but I need some consultation and advice to beginning a free jazz collection.

    I find a big emotional connection to Ellington and Basie, I love 50s and 60s bop/hard bop, I have a pretty broad collection/appreciation of music OTHER than free and avant garde.....I think it's time for me to grow up and learn to appreciate the "freer" music.

    So, lay it on me! What should I get/ask for Christmas this year?

    Thanks Everybody!!!

    Do you have Ornette Coleman's Beauty is a Rare Thing? To me that would be one place to start.

  6. There are many wonderful albums on ECM, but the problem is that, when it comes to jazz, the label now seems to have an almost factory mentality whereby every release is in the same general area, with the same brooding dark covers, with the same smoothed out sound. The music strikes my ears as being far too deep into the tepid waters of Baby Boomer New Age narcissism. And I can't help but notice that some artists who record for the label (Marilyn Crispell comes immediately to mind) did their best, edgiest work before falling into the ECM stable and disappearing into the musical equivalent of a scented candle shop.

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