Guy Berger

RIP (and sorry for your loss, Chuck). Do folks have recommendations for Jarman recordings (leader or sideman) outside the AEoC? Guy

RIP Marty Funkhauser

IMHO this is one of the best / most useful posts in the history of this forum. Thanks @mikeweil !!!

I prefer Burrell to Green; both to Montgomery (who I think is kinda boring). I’m not a super-sophisticated listener but yeah, GG’s playing does seem more “basic” than KB & WM whose playing is obviously bebop-derived. For my taste Green is best as a sideman when sharing space with 2-3 soloists who contrast well with him, for instance IDLE MOMENTS.

I gave the live album PASSIN’ THRU a listen today. Great stuff. If you like Lloyd’s other recent live recordings (RABO DE NUBE, WILD MAN DANCE) then you will like this one too. As you would expect, it has moments of more outside playing relative to the more radio-friendly studio recordings.

Finally got around to listen to it. Great stuff. I like Steve’s writing for strings.

Coming into Kentonworld for the first time - aside from CITY OF GLASS, I had never really listened to him but obtained a few of his albums about a decade ago and finally got around to digging them out - CUBAN FIRE and CONCEPTS OF ARTISTY IN RHYTHM. Wonderful, enjoyable, at times (unintentionally?) humorous music, as long as you don’t get caught up in preconceptions about what good music should sound like

I certainly didn't come in via straight-ahead jazz. My first were Mahavishnu, electric Miles, Weather Report... I thought Kind of Blue was boring when I first bought it. People come in via all sorts of routes. Back in the mid/late 90s there was an influx of Sonic Youth->free jazz entrants. Phish/MMW and the jam band scene were another path. I don't know what the parallel is today, but surely it exists.

Questions I have when I read something like this: *Can* jazz be saved? *Should* jazz be saved? What does “saving jazz” even mean? Who cares? That said this is a wonderful music, if Jeff Goldblum leads one person to discover Louis Armstrong or Albert Ayler that strikes me as a win.

neither could i

coupon: https://twitter.com/PiRecordings/status/1066456243928211456 I picked up: the first Liberty Ellman album (Tactiles) Roscoe Mitchell Song for My Sister the two Braxton/Wadada duet albums the Iyer/Ladd In What Language AEOC, Sirius Calling & the Meeting the first Fieldwork Album Leo Wadada Smith, Year of the Elephant [the recommendation for the Rivers/Holland/Altschul reunion is right on, but I already have it and forgot to mention ]

Hi all, Pi Recordings is holding a 30% Bandcamp sale for Black Friday and Small Business Saturday, so I’d love recommendations. FWIW I own the following already, all of which I’d recommend: 7 Steve Colemans (personal fave = Synovial Joints) 9 Henry Threadgills (personal faves = This Brings Us To volumes 1 & 2) 3 Muhal Richard Abrams Rudresh Mahanthappa and Bunky Green, Apex (great one)

Niswanger is leading a fusion (?) band called Mae Sun rn, I am listening to their album on spotify and it is quite good.

Ironic that a quote I gave about cyber security has led to a thread about paywalls

Out of curiosity I compared air quality here and in Beijing - comparable

David Sanborn, Thomas Chapin have both played sopranino

Yes but unlike all the examples i mentioned, Gerry Mulligan’s quartet wasn’t clearly influenced by Ornette’s quartet

Masada (John Zorn + David Douglas) MILES SMILES when Herbie isn’t soloing john Carter + Bobby Bradford American quartet when Keith was playing soprano (also when he was playing piano, but connection is more literal when he’s on the horn) Joe Lovano + Tom Harrell + Anthony Cox + Billy Hart

RIP

Is dissonance common in elevator music?

This is a real downer. Some seriously bad judgment here.

I have never been a hardcore fan, but DAYDREAM NATION is a classic and SISTER not far behind. I never cared enough to explore beyond those two + EVOL + WASHING MACHINE ("Diamond Sea" is great, the rest I don't need to hear again)

It's one of the best songs Simon ever wrote. I don't really understand the big deal about this, or care to understand

A lot of this is probably due to sharing stage space with Yusef Lateef and Charles Lloyd during 1962-64. They added a depth and gravitas to the band that wasn't there before, and when they departed, Cannonball had to pick up the slack - couldn't do the "empty calories" thing anymore.

Woohoo!!!! very excited about the Cannonball.