Д.Д.

I've been curious about this CD for quite some time now! - but was not sure about how active the label still is... Ask our friends at indiejazz - they might be able to procure it for you. Or any of the musicians invovled, perhaps?

While on vacation, I was not forgetting about my Rat duties, so I was listening (attentievely, for once) to a bit of music. Will elaborate later, so just a snapshot of the horrors is to come: Kate Bush "Dreaming" Joelle Leandre / Mat Maneri / Joel Ryan / Christophe Marguet "For Flowers" (even , I would say) Old and New Dreams (ECM) Viram Jasani / Gurdev Singh / Ustad Latif Ahmed Khan "Rags, Malkauns and Megh" Beaver Harris "African Drums" Sunny Murray / Charles Gayle "Illuminators" Gene Ammons "Boss Tenor" Lovano /Osby "Friendly Fire" Michel Portal "Arivederchi le Chouartse" Pharoah Sanders "Live At The East"

While it's nice that it sold out, it's a shame that it's OOP. I would assume Gianni has about 494 copies left. Anybody in terestd in geting a copy can contact him directly: gebbia@giannigebbia.com. BTW, from Gebbia's website: "... then two new recordings at Sonoma State Music College one new solo and the second one a deep duo with Gino Robair who also played piano!". I want both, of course.

If I remember correctly, there is a really powerful and quite "out" version of Footprints on some Freeman live CD. If it is on this one, then this CD is worth hearing if only for this track alone. I think I also have a CD of Von Freeman with Chico Freeman (BIrthday at Blue Note or something like that) and I remember it being pretty boring, mainly due to Chico's playing which I find absolutely bland.

New release by great Jean-Jacques Avenel on Songlines (SACD hybrid!): http://www.songlines.com/warabacontent.html Looks like this is some African folk music-influenced thing. I'll get it! Are there any other releases under Avenel's name, btw?

I have Berne's CD called "Ornery People" - it's a duo with Michael Formanek (bass), and I find it absolutely outstanding. I also have some larger band projects (on JMT) and they seemed very dry dense and soulless to me. Now this ubu guy sent me some more of Berne - I'll listen and will report here.

They could do special limited editions: "funny rat edition: no aebi overdubs"... ubu That would be the karaoke version, right?

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)?