Д.Д.

What, too much laughing last night and too much coffee this morning?

This is a wonderful disc indeed - warm and relaxed, and with very good sound. As for Aebi being overdubbed later, who knows what was the reason... probably she was not in a good voice on the day when the band recorded... or Roswell Rudd might have had some totally disastrous experience with some female vocalists before, so he insisted that there would be no vocals while he is in the studio.

I would assume it refers to additional material not on original LP.

No Tony, you would not be wrong. Revolt is a terrific disc! Besides Moondoc, who is great here - very bluesy and lyrical, we have Khan Jamal providing some unique vibes playing - also very lyrical, but also very inventive - his solos are compositions by themselves. Together with Walt Dickerson (it's such a shame the man is retired from music now!), Jamal is one of my favirite vibists. Check out his great trio disc called Three with Johny Dyani and Pierre Dorge on SteepleChase.

Did a search for Solal at amazon.fr - rather large discogrpaphy. And look what the European BN guys came up with:

All JMTs are OOP, but hopefully they will all get eventually reissued on Winter & Winter (http://www.winterandwinter.com). Of later Solal I have Solal-Griffin duo on Dreyfus (I guess it's after 1995), and I find it very charming, if not exactly a masterpiece. Also Solal's solo in Jazz'n'emotion series is very good (recommended by you-know-who) - but this is probably before 1995. Solal is the man. Portal, I don't have too much hope for (having seen him live several times in the last 5 years).

According to Sunny Murray (not the most reliable source), Dolphy was supposed to join a little modern jazz combo for a tour in the end of '64. Not just some combo, but this one: Ayler Cherry Peacock Murray And Dolphy. That could be he-he, for sure.

D O N ' T Y O U D A R E M Y F R I E N D ! ! ! (you won't be my friend anymore ) Before I make any further comment, let me work through my Dolphy collection again.

Such an insult. The Cafe Montmartre sessions were originally released on Danish Debut LPs. First one was 'Live at the Cafe Montmartre'. Second was 'Nefertiti, The Beautiful One Has Come'. This one had a Marte Roling cover which was 'adapted' from one of a series of Cecil Taylor photos I took back in 1965 (old story!). The full session was reissued on a double LP by Arista in 1975. The double LP was also issued under the title 'Nefertiti, The Beautiful One Has Come'. The content of the two LPs have appeared on a number of CD issues (on the Freedom and Black Lion labels). The Revenant CD has two additional alternates of 'D Trad That's What' and 'Call' that have not been issued before.

Yeah, P.L.M., what do you think, you are in for relaxin here?!! Gotta justify your GROOVER status!! YOu'de better drop everything you're doing and prepare an extended analysis of Solal/Portal NOW!

I assume you heard the recent (PHENOMENAL) Zen Widow (Gebbia-Powell-Goodheart) release? One of the best releases of 2004 (well, I've heard only five 2004 releases so far, but it's not the point). Regarding Odeon Pope, seriously P.L.M., what's the problem? I can understand the criticism when it comes to his '90s recent trio releases on Enja and Knitting, and some of the CIMP work (unexciting "Philadelphia Spirit" with Byard Lancaster, for example), but with work with Saxophone Choir on Soul Note is outstanding, and he simply burns with Max Roach on Scott Free (Soul Note). At his best, Pope I think ios up there with the best - beautiful sound in all registers, outstanding technique and good original ideas (I can always recognize Pope immidiately - and I can't do it wih many other musicians). And with further sacrilage, wait till I get to discussing Dolphy. He-he, of course.

Speak for yourself. Hans, seeing our total similarity of music tastes and outlook on life, I got used to making statements on behalf of you and me. This goes beyond this board -. actually, most of the conversations I start with "Hans and I think...". I willingly acknowledge my mistake, and this will never happen again. In all my written and oral presenrtation I will always make a comment along the lines of "this is my personal opinion exclusively, I am not aware of Hans' opinon, nor am I authorized to make any statements on his behalf". Honestly, I am bewildered: what made you think our tastes and outlook on life are so similar? I don't recall any conversations on or off this board re things like that, so I'm wondering how you reached that conclusion. The main thing that we have in common, Hans, is that we - unlike most of the posters on this board, take life very seriously. People here tend to have a somewhat, shall I say, shallow and light outlook on things, and it is for people like you and me (it became so natural for me to make statements on bahalf of us both, you see - this is the last time, I promise) to remind them that life is not just he-he and ho-ho. How about hi-de-ho? Well, 7/4, I have to note that under the positive influence of Hans and myself you are making some improvements. Hi-de-ho is serious enough for me. I speak for myself only, of course - Hans might still find it a bit thoughtless and irrisponsible, but for me it's just fine.

Speak for yourself. Hans, seeing our total similarity of music tastes and outlook on life, I got used to making statements on behalf of you and me. This goes beyond this board -. actually, most of the conversations I start with "Hans and I think...". I willingly acknowledge my mistake, and this will never happen again. In all my written and oral presenrtation I will always make a comment along the lines of "this is my personal opinion exclusively, I am not aware of Hans' opinon, nor am I authorized to make any statements on his behalf". Honestly, I am bewildered: what made you think our tastes and outlook on life are so similar? I don't recall any conversations on or off this board re things like that, so I'm wondering how you reached that conclusion. The main thing that we have in common, Hans, is that we - unlike most of the posters on this board, take life very seriously. People here tend to have a somewhat, shall I say, shallow and light outlook on things, and it is for people like you and me (it became so natural for me to make statements on bahalf of us both, you see - this is the last time, I promise) to remind them that life is not just he-he and ho-ho.

Speak for yourself. Hans, seeing our total similarity of music tastes and outlook on life, I got used to making statements on behalf of you and me. This goes beyond this board -. actually, most of the conversations I start with "Hans and I think...". I willingly acknowledge my mistake, and this will never happen again. In all my written and oral presenrtation I will always make a comment along the lines of "this is my personal opinion exclusively, I am not aware of Hans' opinon, nor am I authorized to make any statements on his behalf".

Guitarrrrr fan, Hans?

He-he, Conference of the Birds I found too simplistic with quite poor soloing by both Rivers and Braxton. This is how we treat the classics here.

Not at all your fault! I got a burn of that, since. ubu what do you think of this one? I have only listened to it one and quite like it. I have never heard Rivers in a duo setting before. Will I be forgiven here, if I admit that other than Blue Note works, I am not a perticular fan of Rivers (with some exceptions, like Don Pullen's excellent Capricon Rising in Black Saint)?

Finally gave a listen to Brötzmann's DLAD quartet performance which our own ubu kindly proived me with (thanks, Flurin!). It is quite good (and excellent sound quality, btw!), and rather different from Little Birds... (my only exposire to DLAD). Very relaxed (Brötzmann in particular)! I found both Brötzmann's and Kondo's playing here less varied than on Birds. The visual imagery I had is of Brotzmann's sound being a big a little bit dumb peaceful bull and Kondo0s trumpet being some deranged blood-sucking bird (or rather two birds!) flying around and stinging him. I beieve I had more diverse zoological imagery listening to Little Birds... (shit, just writing this I realized that the title has "birds" in it... I should pay attention to titles). There are soime moments where both Brötzmann and Kondo seem to be lost a bit, and just going through their "thing" waiting for an idea to struck them. But it is all to a large degree compensated (and you new it was coming) by non-Parker bass!!! I have to admit, that the listenig experience became to a large extent a comparison of Kessler's and Parker playing, and IMO Kessler is by far more interesting - great deep sound (with long notes, not just drum-like shallow boom-boom), no groove lock-ins and quite unpredictable (unlike Parker, whose bass parts can be easily overdubbed from one disc to another these days). Talking abnout good bass, I am really looking forward to hearing the disc(s) Brötzm. did with Fred Hopkins... but before buying anything I have a lot of catching up to do with my own collection.

What's the label?

I'll get this one - Cutois, Battaglia, Godard - are you kidding me!?... As for Michel Portal, I have both of the CDs P.L.M. refers to (Chateauvallon 1972 (Universal France) and Alors! (Marge/Terrones)) but haven't listened to them yet. Time to do so. The one I did listen to though is Portal's Dejarme solo! (Dreyfus), and it'0s a phenomenal record, a milerstone in solo reed works, IMO. haven't listened to it for a long time - will do this week to refresh my memories.

P.L.M., I don't think I have any older HAT ARTs (6000 series).. probably one or two maximum (Lacy, most likely). I have nearly all hat[NOW]art's, though - goth them all very cheap at zwei. Haven't listened to most of them, though...so far my favirite is - what else?! -Soviet Avantgarde piano. I have quite a few IN SITUs (Denis Colin solo, McPhee/Lazro duo, Silva in tradition thing, some more Lazro, Didier Petit.. probably something else) - that was (is?) an excellent label...

Finished with CD arranging. Everything fit comfortably in 3 CD racks, meaning I will have some space for a bokshelf in a room (otherwise I was going to through away all these bulky paper things ). Here is CD Rack number 3 - from P (Prokofiev box at the top, Pullen Black Saints at the top left) to Z (fourth section is all Zappa).

Is Collignon doing a lot of vocal stuff? I saw him live, and he devoted a lot of time to vocal thing (with a lot of electronics invovled) -and he was good in it. He alse has quite a stage presense - looking more like an aggressive punk-rocker, very animated... An excellent trumpeter, of course. Vincent Courtois is a great cellist! I saw him live as well. Beautiful sound and phenomenal technique. I would be intrerested in eharing his own projects. ------------------------- I was listening to Dewey Redman's "The Ear of the Behearer" today, and what a great album it is! Dewey just burns on alto, tenor and screeching musette (he played musette the last time I saw him live, and well, there is a big difference between good screeching and bad screeching). The band is great - Leroy Jenkins, a very interesting trumpeter with good ideas, Sirone on bass... And the compositions are strong - some deranged blues (and Dewey's tenor is perfect for deranged blues), a slow group (well) arranged piece, a ballad (wit gorgeous tenor sound) and some fiery, ultra-fast Ornettish stuff (but more aggressive and direct). But you all have this CD anyway, I assume. I wonder if these were reissued in Japan - I would want to get the complete albums (the US Impulse! release is a compilation from two discs "The Ear fo the Behearer" and "Coincide". Listening to this, I relaizedthat even good 90s Dewey (as on "Walls-Bridges" (Black Saint), "In London" (Palmetto), "Momentum Space" (Verve) is far far far from this daring, in-your-face amd always surprising Dewey early 70s.

Gokhan here is the website I bought the CD racks from: http://batteryguys.ca/shop/customer/produc...8&cat=74&page=1