Д.Д.

Jaky Byard OJCs would also qualify, I guess. Simon Nabatov trio trio on hatOLOGy (forgot the title) should work OK also. And Matthew SHipp trio, also on hatOLOGY - "Multiplicaiton Table" - is a fine trio date- and fairly swinging.

Get it, it's very good. Not too "out", but more so than Curson's 60s stuff (also good). And Marge CDs from late 90s tend to go OOP these days (this one might be already OOP, actually).

What's the label? I like Butcher a lot, but can't catch up with his output (and he put out a lot of stuff - and everything I've heard was good - amazing consistency).

No, it's a different session from 2003.

I have a feeling that someone will. Meanwhile, I will elaborate a bit on differences between Live at Nefertiti (Ayler) and Noise of Wings (Slask). So this is the same trio of Brötzman (reeeds), Uuskyla (drums), Friis-Nielsen (bass guitar), with Noise... being recorded one day later than Ayler live date date in the studio. To begin with, I really enjoy both, and would highly recommend both to anybody interested in imporovised music in general, and Peter Brötzmann in particular. However, between the two I would give a slight edge to Noise.... On Nefertiti... there are several tracks where Brötzmann seems to be stuck without ideas and just does a bit of an ornamental playing (well, hmmm... "ornamental" in a Brötzm. way) - this is particullarly true for his taragoto and clarinet playing. Also, there are moments where he sounds just... lazy: that is, there is still this beautiful hoarse sound, but it dose not have that underlying energy to it - and I do not like it too much this way. Noise... on the onther hand is all no-nonsense - with Brötzmann totally focused. He sounds just superb on this one (and studio sound is excellent - more rich than (good) concert recording of Nefertiti...), with more nuance and attention to detail in his playing than on Nefertiti..., IMO. It is equally diverse, with some pretty lyrical pieces and some burning stuff. Also Uuskyla and Friis-Nielsen have a bit more of a solo space (there is some excellent duo in the middle), and they are a fascinating rhythm team to listen to - both have interesting and non-typical sound (very "shallow" sounding, I would say - but good), and a bit paradoxical sense of timing (Friis-Nielse's bass first created an immagery of some random bubbles coming up and exploding in the poot of boling water, without much system - but it makes perfect sense with Uuskyla's drumming). Thus, I formally change my #1 recommendation to Brötzmann novice to Noise of Wings (now good like finding it), although this might change after I hear Medecina.

This is teh same lineup as on Live at Nefertiti, on Ayler, which I really enjoy. I'm glad to hear it is worth listening to. Have you heard the disc on Ayler and are you able to compare the two? No, I haven't heard the one on Ayler! Hopefully, someone will have listened to both in a bit... Someone will, for sure. He-he.

Got a press release from Leo Records. There are 6 more releases upcoming, including one more solo Braxton from Milano 1979, more Wally Shoup trio, and new Frank Gratkowski project release.

Hans, I will receive it soon (as I am INTAKT subscriber) - and I will review it here. I listened to this one, and found it absolutely mediocre - really had problems listening to it till the end (I listend to it twice, and it's even worse second time around). Crispell is doing a lot of uninspired mindless noodling, and seems to be thowing all possible piano cliches ("romantic Bill Evans thing", "Cecil Taylor thing", "dark-pensive-brooding thing") without much thought or feeling - and however expertly performed, it is becoming extremely annoying almost immidiately. Guy is not particulalry supportive and is creating twice more sound than is probably required, IMO -and given that Crispell's piano is very heavy on the low end, on some tracks there is a constant bass "porridge" of sound. The best one is Lytton who is a pleasure to listen to, and seems to be the only one trying to create something and actually suport other two players. There are a couple of nice moments (it can't be all that bad with musicians of this calibre) - there is a solo arco Guy thing somewhere near the end - amazingly played (with sparce and tasteful use of of sounds - for once), and the last track - slow, melodic balladish thing is OK - but overall, the impression is of a forced work, not bringing joy neither to the musicinas nor to listeners. I have a couple more Crispell CDs in my collection (bot hon Leo, don't remember how they are called... one is with a symphonic orchestra, I think), and I will listen to them in the near future to see if she is any better there.

http://www.okkadisk.com

Enja MW is planning an Abdullah Ibrahim remix project (to celebrate the man's 70th birthday). Details here: http://www.enjarecords.com/cd.php?nr=NIN-1902 Should be interesting.

This is teh same lineup as on Live at Nefertiti, on Ayler, which I really enjoy. I'm glad to hear it is worth listening to. Have you heard the disc on Ayler and are you able to compare the two? This morning I listened to Noise of Wings (Slask) by the same trio, and preliminary verdict is that it is even better than Live at Nefertiti - and, surprisingly (given that they were recorded just one day apart), somewhat different. I'm going to give it a decisive 3d listen and will report. In any case, I will probably go for Medicina - I am interested to see how this trio evolved over the four years.

Give me time till the end of the week to digest the set.

Looks like a great live music experience! I also never heard this bassist, but Wertmüller I know from Nothung, and he is indeed a phenomenal and unique musician. I can only imagine what he sounds like live. Nothung is an average+ Brötzmann record, meaning it's good (Wertmüller's work is the highlight for me), but there are many better ones. We discussed quite a few Brötzmann records in the Funny Rat thread, so a search should show enough of recommendations to keep your neightbours happy.

Do you like guitar, Tony? I mean GUITARRRRRRRRRRRR. I do, as long as it's not too dissonant or rock 'n' roll-ish. I have one Caspar's CD: Caspar Brötzmann Massaker "Home" (Thirsty Ear, 1995) - I will listen to it tonight, and will report here. This is a terrific record, but probably not something you would be interested in. This is guitar-drums-bass record like no other I've heard. Steady slow drum bit and repetative bass and very fuzzy (also repetative) low-tuned distorted guitar - quite intense and heavy. A bit of vocals (mainly hunning the same word, and a bit of shouting on one track - all sound good). Not that many solos as such -and when they are they are with a lot of (good) feedback. All sounds like it is just about to explode into noisy uncontrolled chaos, but somehow holds together. Excellent stuff, but form what I know about your tastes, gentlemen, only John B would probably enjoy it.

Do you like guitar, Tony? I mean GUITARRRRRRRRRRRR.

To make things more clear:

Hmm, that looks very silly but might be very useful... It's probably pretty expensive. 708 Euro This is a new product, introduced just a couple if months ago (it is not even avaialble in the US yet - probably because peole there enjoy ironig more). In 6 months price will fall by 30-40%.

Are you enjoying your ironing, Tony? http://www.siemensappliances.co.uk/site/Dr...irtiron_434.asp

Tony, Hans - I am impressd by your progress. Gonna go do some creative cleanig as well. Done with Vysniauskas (got even better by the end... great stuff), and will go for joyful optimistic (I need that while cleaning) Enrico Fazio Quintet "Euphoria" (Splasc(H), 1991).

That's Brötzmann's son Caspar, btw. Watching out that his father does not get in too much trouble, I guess.

Found a Brötzmann discography - looks liek it is constantly updated: http://www.shef.ac.uk/misc/rec/ps/efi/mbrotzm.html

Same here (the bathroom's waiting for me... ) So is mine! Loos like we have very demanding bathrooms. ---------------------------------------------------- Desided to drop the Ascension that I am revisiting due to Gary's "Album of the Week" thread (still not convinced by this album), and went to this one: Petras Vysniauskas "Viennese Concert" (Leo) SOme excellent stuff here (will write a review after I finish listening to it). Distinctive Russian (Soviet would be more correct, as Vysniauskas is from Lithuania) music (master musician Ganelin is on board here). OK AMG revew HERE.

I will see Tsahar in duo with Cooper-Moor next week. Will report here. To make you all envy, here is the program of thhefestival we have here next week: http://www.jazzonzeplus.ch/site04/programme.htm Events like this do not happen to often here, though.

Yesterday I saw Oliver Lake quartet. Here is the band: Oliver Lake: alto saxophone Peck Allmond: trumpet, flute Reggie Washington: el. bass Bill McLellan: drums The program was dedicated to Dophy's music and consisted mostly of Dolphy or Dolphy-related compositions. Lake himself was astonishing. Total command of the horn (those ultra-fast runs DID match Dolphy's in speed and clarity of execution), great ideas and phenomenally rich raspy sound (this sound has to be experienced live - I don't think it can be captured on record adequately). Every solo was a complete story from start to finish, and could be probably used a study in saxophone improvisation - with all possible sounds that could be extracted from alto, but without empty chatter. You just feel years of experience: Lake unpredictably jumped from one idea to another, and it all seemed absolutelly effortless and smooth. Also nice to see that Lake, who is more than 60 now, hasn't mellowed down a bit - he played as out as you can get when he wanted to. Listening to Lake's sound I couldn't help but compare it to Braxton's playing on 23 Standards that I had been listening to in a car on the way to the concert (only disc 1 so far). Braxton just does not have the sound there, IMO (and I noted the same thing on recent Braxton/Cyrille duos)! The ideas are there (although they do get somewhat predictable), and the speed and extended technique are there is well, but the sound is disappointedly flat and unexpressive, and sometimes even seems to be not exactly under Braxton’s full control. This really contrasted to the power and expressiveness of Lake’s sound. But OK, back to the concert. Now, I wish Lake had an equally strong trumpeter in the band. Peck Allmond is an extremely bland musician, and his solos created a disastrous contrast to Lake's ones. He did OK with the tricky heads, but when it came to soloing he was just helpless (and this was further exacerbated by the fact that he always had to solo right after Lake, who create miracle after miracle). His technique was alright (on trumpet t least – he realy struggled with flute), but just no original ideas whatsoever. Rhythm section tried their best to push him a bit (they played more aggressively behind him than behind Lake), but to no avail. Rhythm section on the other hand was a pleasure to listen to. Adding electric bass was a nice touch, making music more aggressive, pushy and funky. Washington is a competent bassist, although his solo spots (rare and short thankfully) were quite generic. He stumbled a couple of times on Dolphy’s heads, but otherwise provided a great base for the soloists. McLellan is an excellent drummer who really deserves a special mention. Groovy and powerful, all over the kit and very attuned to other players (his interplay with Washington was admirable – and I attribute it to McLellan’s listening skills). Flawless on written parts and groovy during blowing. The written parts were very interesting, btw. All Dolphy tines were re-designed quite a bit – I think most of them were played in different time signatures than the originals, and it all sounded good. Some Out to Lunch compositions (don’t remember the titles) became quite groovy and really opened form a new perspective. Lake’s own compositions (there were 2 or 3 only) were very strong as well – quite complex funky things (played effortlessly by the rythm section), but not too mechanistic (as Steve Coleman’s M-Base for example) – on the contrary, very warm and lively. I chatted a bit with Lake after the concert. Very sweet guy. He was in good spirit and looked happy to be in Geneva (the club was packed, btw). He is doing a little European tour with this band now (even going to Macedonia) and sounds like he is pretty busy overall (“gotta pay my bills, man!”). He said he is happy with the thing that he had recorded with Dennis Gonzalez (which will be released on Clean Feed), and he also recorded something with John Tchicai recently (!), but is not sure when it will be released. He said the Trio 3 (with Andrew Cyrille and Reggie Workman) is still active and they will be touring North America next year. Whatever the band he is playing with, I would encourage you to see him live. Oliver Lake label and website: http://www.passinthru.org

Three Paul Bley albums: Solo (Justin Time 28), Changing Hands (Justin Time 40), and Sweet Time (Justin Time 56). Don't have any of these ones, I think - but I do have the latest solo one on Justin Time, Nothing to Declair and didn't like it too much - I thought it sounded tired and a bit repetative (something I normally wouldn't expect from Bley). Have you heard it?