Д.Д.

What label is it on, again?

Jonathan Zorn who did some insane shit on bass on his two solo releases on Newsonic, seems to have his own label now: Set Projects. He plays synth on all three releases...hmmm... I might check them out still. Also from Set Projects website got to Experimental Music Research label -and some good stuff here as well.

Following the Signal to Noise add, checkoing out the samples from the False Walls Records website, and really enjoy what I'm hearing: http://falsewalls.com/releases/releases05.html And this is some powerful stuff! http://falsewalls.com/releases/releases04.html Now if only I could order without this money order bullshit.

Finally some new release from Peter Brötzmann this year (from DMG): BROETZMANN/MANDERSCHEID/SAMBA а Danquah Circle (Konnex 5127) Featuring Peter Brotzmann on alto & tenor saxes, A clarinet & taragato, Dieter Manderscheid on bass and Frank Samba on drums and recorded live at the дLoftе in Cologne in November of 2002. This fabulous trio first played the Loft in February of 1992, before leaving for a tour of West Africa. Their other important gig that year was at the Total Music meeting in Berlin and then they didnеt get together for another decade, when this gig occurred. Although I am mostly unfamiliar with both rhythm team players here, it turns out that Manderscheid has a large discography, from Klaus Konig to Frank Gratkowski to Ekkehard Jost, while Samba appears on one release by Linda Sharrock, as far as I can tell. Well recorded and well-balanced, the trio begin with some sumptuous clarinet, contrabass and cymbals, soon flying high and wide, taking us on their great journey. Erupting intensely, things quiet down for a somber bass and cymbals duo, until Brotzmann picks up his trusty tenor sax and starts wailing, so watch out! The title is actually pretty restrained, yet no less intriguing. The oddly titled вFire in the Zipperг, again starts out quietly and builds to another powerful, flame-throwing conclusion. Another treasure form the great Brotz-man and company!

Was Da Ist for sure. But also Duos on FMP, both volumes. Kowald partners with evrybody you can think of in the Rat land (Brötzmann - Kondo - Leandre -Bailer -Evan Parker - Bennink - Cyrille - Cora - Schweizer, etc.) for a set of short (2-3-4 minute) very diverse duets. Don't remember much humming from Kowald himself, but there is some absolutely amazing vocalizing from Diamanda Gallas. Kowald and Sommer also recorded in a trio with one Gianni Gebbia (Cappucini Klang on Splasc(H)) - and as I remeber it is not bad at all.

"Scream for me Long Beach! SCREAM FOR ME LONG BEACH!!!!" I was listening to Live After Death a few days ago. I saw Iron Maiden in concert 16 or 17 years ago and still have a soft spot for the 1980's albums. Have you heard their latest one? I liked Brave New World quite a bit, even if it is somewhat predctable. COuldn't resist the temptation and ordered the latest Iron Maiden, together with some Tom Waits and Louis Armstrong. ---------------------------------------------------- From the Wallace Records webpage: "New scheduled upcoming on wallace: the trio with LUKAS LIGETI, GIANNI GEBBIA and MASSIMO PUPILLO plays "The Williamsborg Sonatas", jazzy album recorded in NYC. Soon more details....". Yes.

Friends, let me draw your attention to the trading post of fent99 in the Offering & Looking For forum: http://www.organissimo.org/forum/index.php?showtopic=12522 There are a few titles of ratty interest.

Gotta check out this Eneidi disc I've got - it's on Boticelli records. I think it's called "Disconnected Without Notice". Will do this weekend, and will report here. OK, listening to this one. It's actually called Final Disconnect Notice, he-he. Marco Eneidi - as Karen Borca - bassoon William Parker - b, c Wilber Morris -b Jackson Krall -dr Good stuff! Eneidi has a beautiful sound - out of Jimy Lyons, but more low and with a bit less bluzes but more lyricism (a bit like Paul Desmond, really). Borca is good, and both Morris (what a sound!) and Jackson Krall shine. Not really noisy... a lot of listeng to and supporitng each other... some very effective shifts of mood and texture. Judging from this Eneidi could definitely make a good sparring partner to Brötzmann - gonna get their new one..and some more solo Eneidi.

This is a nice album indeed - nothing particularly groundbreaking, but there is real fire, passion and sense of adventure in this music. Honest stuff. I also agree that the drummer is the most interesting voice here, driving the whole band. If I remeber cirrectly, Exploding Custiemr recorded a new set for Ayler - would be really curious to se how thy progressed.

I think it's tome for Tony to make some highly irrelevant statistical / numerological announcement!

Gotta check out this Eneidi disc I've got - it's on Boticelli records. I think it's called "Disconnected Without Notice". Will do this weekend, and will report here.

I had the same feeling about Gerry Hemingway Quartet “Devils Paradise” (Clean Feed) - excelent musicians (Eskelin, Dresser, Ray Anderson), good compositions (clever post bop, slightly out-ish), strong solos - but I couldn't help thinking - "what for? this has been played already thoudsand times" ... probably just too safe for my tastes.

Live - Evil has this McLaughlin guy who I can't stand. Also, the short studio tracks are kinda boring, no? My favorite moment is the opening of the very first track, the live one with this bass vamp and Miles' wah-wah trumpet - yeah! But then it becomes less and less interesting for me. Overall, Live-Evill sounds to me much more simplistic than absolutely wild Fillmore East stuff. It's About Time, I listened to only once, and I thought it was phenomenal.

Evander website is updated. Looks nice: http://www.evandermusic.com/

Looks like a Swiss army band conductor: "You screwd up zis bariton saxofon part in "Lion King", private!"

I heard Rubalcaba set many years ago, and I thought ti was unbearable - RUbalcaba seemed like this typical virtuoso empty-chatter type of player (think bad Oscar Peterson).

Exactly! I was always bemused by statements about Miles having no chops. As for Henderson - I like Henderson a lot when he plays "out" (well, "slightly out") - if you don't have it, check out his very impressive CD with Alice Coltrane called Elements (...I think) - it's on Fantasy/OJC. Thinking about it, I like Henderson even if he does not play "out"! What a monster muscian he was!

Mies form the 70s is my favorite Miles! I hope one day they will release the complete Live At Fillmore East recordings (my favorite Miles Davis disc - but with horrendous edits)...

Will have to listen to the only Vijay Ayer CD I have got today (forgot what it's called... from mid-90s, on Asian Improvisations) - it's been sitting there sealed or several months now...

Never heard of Luther Thomas... Let me know how this Ornette is. I think it's OOP, so I am thinking whether it's worth searching for it or not.

I haven't done much of listening in the last several weeks, and when I did I was listening mostly to heavy metal stuff (and Captain Beefheart sometimes). And one of the things that I enjoy in heavy metal is drummers. it is really the music where drummers have reached some super-human level of abilities, and occasionally I do wish these guys with amazing chops and phenomenal stamina would use their talents in improv setting. And the only heavy meatla typeof drummer in improv music I can think of is Michael Wertmüller - he combines the best of two worlds - power of heavy metal drumming with improvisational thinking. The disc ubu refers to is Nothung (on Intone) -Brötzmann / Paprker / Wertmüller trio live. My little review should be on the very first page of this thread. I would just add that Wertmüller's playing is an absolute highlite of this disc for me.

Where did you order it? You think you won't need to pay any custom or tax shitte? CD Universe. If you mark it as "gift" the tax is calculated from the lower base. Total tax should not be morwe than 10-15 Sfr.

Isn't it nice that in Germany you can still get a financial support from some organization for an improv. music label? I understand that this support is much less generous than it used to be once, but still looks like it's more than elsewhere. As for releases - look interesting, I might pick up a couple of those. ------------------------------ Placed an order for Ayler's "Holy Ghost". $19 for shipping to Switzerland.. and probably a bit of taxes when it arrives (ubu, if you order it, don't forget to mark it as "gift")... still hsould be cheaper than getting it here in Europe.

You're all wrong, I tell you, wrong!!!!! While O'Neal's Porch might have been hyped far too much, I still really enjoy it. I will agree to disagree with all of you naysayers. I didn't have a chance to listen to any music today, but, in-between yardwork, I got the new computer up and running and took the cd burner on a "test run." Everything worked perfectly, so I will start getting packages into ths mail by mid-week. D.D. - Have you ever had a chance to see Hemingway live? He is fascinating to watch. He is another drummer that really needs to be seen to fully appreciate his abilities. Georg Gräwe / Ernst Reijseger / Gerry Hemingway - This one sounds very interesting. How would you describe the compositions? Well, as far as William Parker is concerned, I think my ever-wobbling tastes are (for once) firm regarding his playing: today I listened to (otherwiser very impressive) Two Day In Chicago by Fred Anderson / Kidd Jordan / Hamid Drake Willaim Parker (Eremite), and Parker's solo spots are all but embarassing (I really can't imakgine how one could have the balls to play a 5-minute solo consisting of nothing but self-indulgent silly ugly-sounding noodling while two 70-year old GIANTS are waiting on stage for their turn to share some magic with audience). --------------------------------------------------- I had a chance to see Gerry Hemingway live twice over the last year - one with his quartet with Eskelin / Helias / Robertson (relatively lackluster mainstreamisch stuff) and next time with Frank Gratkowski quartet (also far from brilliant). Both times I found his playing too heavy-handed and ego-centered. Fun to watch, indeed: the guy is really very involved when he is playing and his hands and body movements while he plays are quite different from those of any drummer that I've seen . On the Flex 27 with Gräwe and Reijseger, Hemingway is playing with much more subltlety, nuance and wit compard to the live performance I witnessed. I really need to listen to this disc one more time to give a reasonably accurate description, but the first impression is very very positive.

Firends, I am listening to this one: Georg Gräwe / Ernst Reijseger / Gerry Hemingway "Flex 27" (Random Acoustics, 1993) and it is stunning! I've got to further digest it (I am stil in the middle of the CD), but the music is totally captivating and mesmerizing. I remekber some lukewarn impressions of the Music & Arts CD of the same trio, but this one is a real deal.