Д.Д.

Where do you guys get the Loose Torque CDs? Not form the label directly, I assume (£10 PLUS shipping )...

Loading! Flying to Moscow tomorrow, so will listen on a plain. ------------------ Somehow, totally effortlessly recoieved a Cluson 3 "Rara Avis", still sealed in the mail. Damage - €20, including shipping. Placed a market-place pre-order at amazon.de three months ago, and voila. If anybody has a good candidate for new OOP obsession, let me know. I am contemplating John Steven's SME "Karyobin" (thanks to jgthomas, other potential target Gustafsson/Lovens "Nothing to Read" has been located and rescued form some second-hand CD store in Texas and is now making its joyful journey to new (my) home).

Thanks. I still have to listen to Makarov/Letov CD on Pentagramma I have got some 6 months ago...

Yeah, I mixed it all up - Dmitriev memorial, of course... I saw Otomo Yoshihide / Sachiko M concert (it was Sachiko solo first, Otomo solo second and then a short duo)- it was pretty weak and uninspired/uninspiring. Otomo started with a horrendous (and seemingly very long) verison of "Lonely Woman" on guitar which sounded clumsy, static and directionless. Then there was a boring electronics set (with occasioanlyl interestign moemnts) where he could not really concentrate becuase of the photo flashes. Sashiko M was interesting in that I discovered that the sound of sine waves changes dramatically depending on the position of the head (ears, I to be exact) - so I spent most of the concert running / jumping around the hall turning my head constantly (to the delight of the audience - the club was packed by the way, 100 poeple or so). Otherwise, sine waves are sine waves, nothing too exciting here - but pretty painful on the ears. They did exactly the same shit when they played together - nothnig really changed, just two solo sets played simultanously. Mengelberg/Benning set was very short (30 minutes?) and silly, with all expected antics (Bennink banging the drums with his feet, drumming on the floor, sticking the sticks in his mouth; Mengelberg starting somehting and then changing the direction every 30 seconds; some joint signing / wailing / roaring.. you know, regular stuff).. nothing too interesting. They played a bit of Monk in the middle. Otomo's Live disc on DIW is great, btw. I will listen to it more, and will expand here - it is worth talking about. Woudl be quirious to hear the impressions of his Out to Lunch disc (John B got it, I think...).

Couple of my secret sources: Secret store one Secret store two

I like Warburton's reviews. The Leandre/Akosh disc is brilliant. I haven't finished even the first listen yet, so I will refrain form further comments, but it is definitely some of the most engaging music released this year I've heard.

Hey, David, what's wrong with Ken Waxman in particular? - imho he's not worse than the rest of them record reviewers Long time no see, Sasha. Regarding Waxman, here is an exemplary passage from his review: So what do I get out of it? Is the music exciting or boring? Is it emotional or cerebral? Is it joyful or sorrowful? Is it beatiful or ugly? Is it diverse or monotonous? Agressive or gentle? Is it loud or quite? Does it feel corwded or sparse? I don't need no fucking blueprints for sound-extraction. I don't care for music technical specification. I don't want a descriptive of what is being played. I cannot make a buying decision based on "shards of trilled and popped notes" and "proper backdrop on which variations can be displayed". This is not what I look for in music! I want to read the guys' impressions. Biased and subjective, emotional or analytical, but an impression, not a description. It is not easy, and there are very few people who can write improvised music reviews of any value (to me). In general, I assume all the music critique (at least in a sense of it being the primary tool of getting new listeners familiar with new music and guiding buying decision) will become extinct relatively soon, as more and more musicians are able to post larger samples of their works on-line and more listeners have high-speed Internet access. And I won't be the one to mourn over music critique's demise. And yeah, another question - did Ken Waxman like the music or not? --------------------- On a more interesting subject - did you happen to see the Kuriokhin festival concerts? I didn't manage to go at any, unfortunately...

I opened the link, saw that the reviews are by Ken Waxman, and closed it immidiately .

That's some nice price at amazon.co.uk (comes to £38.47 with shiping to Switzerland)! Meaning, yes, I placed an order.

New label: Reqords and an interesting first release: I just got my copy - will listen later this week.

Interesting recent interview with Stollman.

Got it. ------------------ Online store for French jazz. Have been looking for many of these CDs for quite some time now...

For those who might be interested - Tony and I will be having a simultanious listening/live chat discussion session later today (around 7PM CET; 1PM EST) of: Six Fuchs (Rastascan 2004) Wolfgang Fuchs: bass clarinet, sopranino saxophone Tom Djll: trumpet, pocket cornet, balloon, hog caller Tim Perkis: electronics Gino Robair: energized surfaces John Shiurba: guitar Matthew Sperry: bass, preparations Everybody is welcome to join.

five-five-FIVE ?

Seems like Rich text editor is not working anymore. It used to, and was a fine thing (except for some annoying double spacing after quotes), but now I can only use the Standard editor, which I find quite cumbersome (e.g. it does not alllow for double formatting of selected text - like bolding and coloring text with just selecting text segment and clicking B and A - now you have to select the text, click B, then select the same text again and click A to choose the color).

I think that Zappa is more "jazz" than many of the more conventially-accepted jazz musicians, if you consider imporovisation the main companent of jazz - just check out his guitar solos sets Shut Up 'n Play Yer Guitar and Guitar (which have gradually become my favorite Zappa discs - and I have them all, incuding dozens of boots)- his talent for imporvisation, his technique and his sound creativity are up there with the best of the "jazzers".

It probably will, Gary! I got my copy just yesterday! Let us know what you think of it. I also highly recommend you get Unforgiven North - I like it even more, even though this one is without Brötzmann

Did anybody hear this one yet: In case you cannot figure out the cover "art": this is Brötzmann-Mandershied-Samba trio CD released on Konnex last year. I assume this Brötzmann junkie Gary should have it since the day it was released...

Friends, I just had a first listen to a Eric Barber's "Maybeck contstructions" (pfMENTUM), and I am quite impressed. Solo tenor and soprano saxophone, again (as with Bühler, who I also discovered a bit earlier) an Evan Parker disciple, and again, IMO, more focused and profound. Very impressive multiphonics and other extended techniques, but also impressive ideas. His tenor and soprano sound really nice (and really well recorded!) - clean, clear, rich sound. It is good that Barber is not ashamed to use more conventional saxophone playing techniques - and when he does, it sounds even pretty. All very coherent, with a constant flow. If there is a little drawback is that it's a bit too precisely calculated (large part of it might be written in advance, I thought), IMO. Highly recommended. Got my copy at indiejazz for $12.50. A sample is avilable at the pfMENTUM page linked to above. (Not too updated) Eric Barber website is here.

I ssume you shelled out $10 for the new Exploding Customer CD? I received it yesterday, and first impression is quite positive.

I'll get John Carter, Tony Coe and the Persons.

Tony, are you sure you need 10 CDs of Gjerstad's duos, particularly with Sabir Mateen and Borah Bergman? I actually have Gjerstad's duo with Hubback on Utech, and it is very much so-so.

Will do. Thnaks Tony.

Friends, woudl anyone of you know where I can find Mats Gustafsson / Paul Lovens "Nothing to read" CD (Blue tower, 1991)?

I like Ellen Fullmans Long String Instrument. That's some cool shit. Friends, I listend to Ellen Fullman's "Body Music" (XI)... three times in a row. Enjoyed it immensely. So much sound. Music to get transfixed by. Would love to see her performing live, but I doubt she travels too much with this monstrous Long String Instrument thingie. I heard her perform with the Deep Listening Band three days in a row at Columbia University. I wanted to find out how the structure changed from performance to performance. So did it change much?