Д.Д.

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?

No. What did you order, Hans?

A lot of new goodies listed in the latest DMG newsletter: http://downtownmusicgallery.com/Main/news/...2004-10-15.html

I tried to buy a disc from the label a year ago and the order was finally cancelled as they never followed up on it. I bought this disc some time last winter without any problems.

I always wondred if these drawings in the composition titles mean anything.

I don't have this one (neither do I have any MEGO releases - I will correct this soon), but I do have another Zeena Parkins CD and it's a greatr one: Zeena Parkins, Nels Cline & Thurston Moore: "Live at Easthampton Town Hall" (JMZ Records). This is pretty intense wialing stuff, but very clever and with a surprising sense of structure and direction. And the sounds Parkins produces on electric harp just have to be heard!

Hans, I will receive it soon (as I am INTAKT subscriber) - and I will review it here.

Looks good! I am not too familiar with Nakatani, but Wright and Doneda are excellent muscians. Gotta pick htis one up. THere is always something sentimental about the first relase of a fledging label...

Who could have thought you wold mention Braxton. Great clarinet player, for sure. After alto, clarinet is my favorite Braxton's instrumnet - it's a chame he does nto play it that often. Also, Vinny Golia is a mean clarinet pleyer.

What are the labels? Buis is on DATArecords, Janssen is on geestgronden. DATA Records Website I really gotta start exploring the Dutch scene - my knowledge is very superficial.

Oh yes. But I would argue that bass clarinet is a different instrument.

ubu, could you elaborate a bit on this Atzmon guy you are plugging everywhere? he is not too mainstream, is he ?

Alvin Batiste Mauro Negri

Zorn turned 50 last year. the question mark referred more to "favourite player" than to the age. frankly I don't really care about age... I mean, look at the tenor thread with the same topic: Wayne Shorter sounds younger and more daring at 71 than most of the players mentioned so far. I agree. Today is today - who gives the fuck if a musiccian is 20 or 80?

Zorn turned 50 last year.

this one, correct choice? Yes. It's OOP, so don't wait for too lonmg with ordering it.