Д.Д.

I finished this a while ago myself and would agree 100% with your comments, especially the "quite depressing" one. It shows that they really started breaking up around MMT and it was basically a very slow, painful death. I think I mentioned it further up the thread that after you read this, none of them come out of it looking good, Paul in particular, he really does come across as a complete arsehole, the "McCartney Overide" and the whole McCartney/Lennon thing being the iceing and the cherry on that particular cake. I think that "Revolution in the Head" and "You Never Give Me Your Money" are probably the definitive works on the Fab Four, great "warts and all" pieces of work, although I haven't started reading "Shout" by Philip Norman yet, but it's supposed to be excellent. They make a great trio of Beatles books. :tup I didn't think any of them comes looking particularly "bad" except for Lennon. His behavior was the most selfish (or erratic, at least) and destructive. McCartney made it quite clear from the beginning that he wanted out of the Apple partnership if Klein was managing it, and his further actions were consistent with this position. There is no consistency in Lennon's actions (even less so in his words). The "McCartney override" was negotiated on behalf of McCartney / MPL alone and was not done to the detriment of the other Beatles. As for McCartney / Lennon, I am left with the impression that McCartney was the only one making a conscious effort to reconcile.

Just finished reading "You Never Give Me Your Money". Excellent read, although the story is quite depressing - more so than I though it would be. Well researched, excellently written, and refreshingly impartial, given the sensitivity and complexity of the subject.

I am in.

JETman, thanks for the heads up. I received my set today - the presentation is truly outstanding, and the sound quality seems to be very good. Even with the shipping and customs fees this is still much cheaper than I could ever obtain it here in Europe.

The European music entrepreneurs (Werner at Hat Hut, Manfred at ECM, Bonandrini at Black Saint and Soul Note, and the guy at Steeplchase (forget his name)) will NEVER license their stuff out. They look at it as their life's work. I think Bonandrinis are not in charge of the Black Saint / Soul Note catalog after it was acquired by CAM Jazz. Incidentally, most of Black Saint Air and Threadgill releases are since recently available as downloads only.

Letov is academically trained.

Paul Bley played with both Chalrie and Evan Parker - how about that? With Ornette too. Buell Neidlinger played with a lot of people.

Ryko 1995 editions of "Hot Rats" and "Uncle Meat" seem to have gone OOP.

Oh yeah, and one more: Matthew Sperry / Jack Wright : Duets 1998. Sperry was a very talented musician (played wit hToma Waits, among others), died tragically young. A few samples are available here: http://www.limitedsedition.com/matthewsperry.html

There are a few CDs of Braxton duos with bassists: with Mario Pavone (on Music & Arts), with Peter Niklas Wilson (on Music & Arts too, I think) and with John Lindberg (on Cecma, probably OOP). I haven't listened to them in ages, but I recall they were all good. There are two discs of Peter Kowald's duos on FMP, they include a few tracks with saxophonists (Parker, Broetzmann, etc.). Leandre's duo with Lacy is quite weak IMHO, a more interestign one is "Gyor" with Akosh S. Thay have one more duo CD out on Leo, but I have not heard it. This Shepp / Davis duo on Enja ("Body and Soul" it's called, I think) is outstanding. If you consider electric bass worth your attention, there is a beautiful duo of Daniele Camarda and Gianni Gebbia out there. Some more: Julius Hemphill / Abdul Wadud "Live in New York" (Red). Wadyd is laying cello, but more or less the way one would play bass. THis is ny favorite Hemphill disc. Time Berne / Michael Formanek "Ornery People" (Little Brother) - very strong. Vinny Golia has a few duo discs with Bertram Turetzky and Ken Filiano. Have them, don't remember of they are good. The good one though is Golias trio with two bassists, JOelle Leandre and Barre Phillips - "haunting the spirits inside them..." (Music & Arts). Matt Bauder / Jason Ajemian - "Object 3" (Locust) is deifnitely worth having - a lot of long saxophone tones and arco playing there. Sadly OOP is a beautiful duo of Domonic Duval / Mark Whitecage "Rules of Engagement. Vol. 1" on Drimala. Get it while you can.

On Chet's latter period records: "Diane", a duo with Paul Bley on SteepleChase is phenomenal. One of my favorite CDs.

I replaced my first-generation CD reissues of "Lizard" and "Red" with 30th Anniversary reissues (which sound excellent to me) literally one month ago...

Joelle Leandre, probably the most interesting improv bassist today (only Barre Phillips is in the same league, IMHO). Lotte Anker and Co Strieff are both very interesting saxophonists. India Cooke is quite an original on violin. I wonder if she is still active. Quite a few females in the London improv scene (well represented on EMANEM label).

http://www.allumesdujazz.com/?part=2&s...83fdb119c871d4f

Well, at the moment I am looking for "Géorgie: Polyphonies de Svanétie" (Le Chant du Monde, 1994).

Just discovered I have a second copy of it. It's still sealed. Selling for EUR 39 plus shipping. Payment through PayPal.

Holiday-10 10% discount till January 1.

Yes, his disc on BS (or SN, I forgot) is good (and quite unique).

You can buy them cheap from the Back Saint website directly. I think they dropped prices further after they were purchased by CAM Jazz. One needn't listen on computer speakers. I find emusic's mp3s more than acceptable for the cost. And in the case of BS/SN discs, I can barely find/buy them at any price.

I am pretty sure this is Frank's home, not his parents' .

Zappa treating his sidemen badly is a common unfortunate misconception - if anything, I have not heard any other band leader being talked about in such revering, admiring and superlative terms by his sideman - there are dozens of FZ sidemen interviews available online. Original MOI contributing to FZ compositions is another myth (repudiated many times by the Mothers themselves). Financially they were actually treated quite well during their time with the Mothers. Since Ellington was mentioned, here is an appropriate FZ quote: FZ in "The Real Frank Zappa Book" (1989): "In 1969, George Wein, impresario of the Newport Jazz Festival, decided it would be a tremendous idea to put the Mothers of Invention on a jazz tour of the East Coast. We wound up working in a package with Kirk, Duke Ellington and Gary Burton in Miami at the Jai Alai Fronton, and at another gig in South Carolina. The touring package did not carry its own PA - we had to use whatever speakers existed in each of the venues we were booked into. The hall in South Carolina was rigged with small jukebox speakers, set in a ring around the building. Useless, but there we were - we had to play the show. Before we went on, I saw Duke Ellington begging - pleading - for a ten-dollar advance. It was really depressing. After that show, I told the guys: 'That's it - we're breaking the band up.' We'd been together in one configuration or another for about five years at that point, and suddenly EVERYTHING looked utterly hopeless to me. If Duke Ellington had to beg some George Wein assistant backstage for ten bucks, what the fuck was I doing with a ten-piece band, trying to play rock and roll - or something that was almost rock and roll?"

Please note that some of these are scheduled for reissue: http://www.hathut.com/home.html?content=up...ng-content.html

Eddie Jobson was Zappa's best violin player. He toured with FZ in mid-seventies. There are no official records featuring his violin playing (well, not soloing, at least), but there are a few bootlegs around. The short-lived 1975 (or 76?) band with him and vocalist Bianca Odin was a killer. Meanwhile, good news: ZFT is reissuing "We Are Only In It for the Money" and "Lumpy Gravy" with some bonus material later this year.

I have about 30 CIMP CDs and they mostly sound like shit. Drums are way up, shallow and boomy, bass is way down and colorless, reeds are flat. They do indeed sound like live recordings - but the ones done in a place really not suitable acoustically for music performances. What is equally disappointing is how mediocre the music itself is - the discs I have are among the weakest in discogrpahies of these artists. Among the discs I have, the only two I would recommend are duo of Mark Dresser and Ray Anderson, and duo of Dave Burrell with Tyron Brown. Perhaps the Harris Eisenstadt's "Jalolu" too. I like the cover art, though.

I like this one. I thought it was quite unique. I remember thinking it sounded related to some of the EAI stuff (I would have to revisit "De Tijd" to give a more specific example of Andriessen - EAI connection, though).