Adam

up

So as opposed to worrying about the Copyright protection, can anyone comment on these releases, track & quality wise?

To the best of my knowledge, and I have researched this some, the answer is no. Frederick Wiseman, documentary maker, owns it, and only distributes it as a print through his personal distribution company. (And we're not talking about the Ralph Bakshi animated film, for those of you who are wondering.)

Huzzah!

PM sent. Adam

It's pretty amazing that Werner had it for so long, and I do believe it benefitted all of us. Perhaps we can persuade someone rich to do it again.

Werner is having difficulties at Hat ever since the Swiss bank withdrew its underwriting. The release isn't very good - he needs to sell more copies.

I finally saw Wong Kar-Wei's '2046" (at the Nuart in Los Angeles) and all I can say is that if you like Ziyi Zhang, you should see "2046." I make no guarantees whether you will like the film, but I did. It's certainly not like anything else out there.

A new announcement from Werner at Hat Hut From: Werner X. Uehlinger [mailto:wxu.hathut.com@bluewin.ch] Sent: Sunday, August 07, 2005 3:53 AM Subject: Our blues and September & October 2005 releases! Our Blues: Dear Friend, Hat Hut Records’ future depends solely on the results coming from the marketplace. We need your help and your best efforts to improve our visibility and to reach the potential customers still there. Thank you for considering this. It is our hope to be able to continue on our path for many more than 30 years. There is more “music for the future” which waits to be discovered and to be released. Kind regards, Werner X. Uehlinger Our releases on September 23rd, 2005: hatOLOGY 616: THEO JOERGENSMANN FELLOWSHIP by Charlie Mariano–alto saxophone, Petras Vysniauskas–soprano saxophone, Theo Jörgensmann–clarinet, Karl Berger–vibraphone & piano, Kent Carter–double bass and Klaus Kugel–drums (new release) Recorded in 1998...the three pieces fall comfortably into a long-form, open presentation of thematicimprovisation that feels even older – with its roots, say, in the freeing of forms that occurred during the 60's – while making allusions to and referencing details to be found throughout the history of jazz.This is neither an act of stylistic appropriation nor conscious postmodern juxtapositioning, but an organic collective response reflecting the individual life experiences of these particular musicians, as artists fromdifferent generations, different geographical locations, different musical enviroments (making even the group name, Fellowship, with its echoes of 60's cooperative optimism, all the more apt). – Art Lange hatOLOGY 621 : Max Nagl Ensemble · Quartier Du Faisan by Max Nagl, Clemens Salesny, Franz Hautzinger, Lorenz Raab, Martin Ptak, Clemens Wenger, Josef Novotny, Achim Tang, Lukas Knöfler and Luis Ribeiro (2 x saxophones, 2 x trumpets, trombone, piano & electronics, double bass, drums & percussion) (new release) Quartier du Faisan isn't merely a compilation of stylistic curiosities but a clear stance on modern orchestra music, an eccentric version of an alpine big band. Perhaps this isn't jazz at all — but without the slightest doubt it is a hymn to jazz. Max Nagl says his music comes about intuitively, he listens, and he picks and chooses to structure it into something that has been unheard of so far. To him, all that matters are colours, iridescent exceptions, surprisingsounds. Thus, jazz is a pool of ideas, a stimulus, a source, no more and no less. – Tilman Urbach Releases on October 24th, 2005: hatOLOGY 627 : Manuel Mengis Gruppe 6 · Into The Barn by Manuel Mengis–trumpet, Achim Escher–alto saxophone, Christoph Erb–tenor saxophone, Flo Stoffner–electric quitar, Marcel Stalder– electric bass and Linonel Friedli–drums (new release) Born in the Swiss canton Wallis in 1972, trumpeter and part-time mountain guide Mengis probably is virtually unknown to most people. It thus comes as a surprise that his first release is for a label that has not pledged itself to promote and encourage local young talents but to track down adventurous and ambitious music of our time. Which, however, is another sign that the world of jazz has been undergoing fundamental changes for the past couple of years. Whoever still believes that New York is the hub of the jazz world is on the wrong track. Unfortunately many influential CD producers, festival organisers and music critics are still barking up the wrong tree (even in Europe), thus it will take some time for innovative impulses from regions which so far have been regarded as the periphery to be duly recognised. Globalisation, which has often been demonised, could turn out to be a truly positive force in this respect. – Tom Gsteiger hatOLOGY 628 : David Liebman · The Distance Runner by David Liebman solo live Willisau Festival 2004 (new release) Here’s Dave Liebman with his saxophones and a wooden flute in his very first concert of unaccompanied solos. It didn’t happen until his fourth decade as a working jazz artist, even though he had recorded four solo albums down through theyears. Once again we hear his brilliant sound and technique, and there are his devotion to spontaneity combined with hishigh instinct to shape improvisations. What Liebman offers most of all is a personal quality of adventure, the result of his endless musical curiosity. This music has so much vitality. – John Litweiler Best regards, Werner X. Uehlinger wxu.hathut.com@bluewin.ch HAT HUT RECORDS LTD. Box 521, 4020 Basel, Switzerland Phone +41.61.373.0773 Fax +41.61.373.0774 (on request only!) http://www.hathut.com The 30th Year Since 1975, an ear to the future Depuis 1975, une oreille vers le futur Seit 1975, ein Ohr in die Zukunft

upppppppppp

Rest in peace! I saw him a couple of times after the Buena Vista Social Club rediscovery of him, and he really was lovely in person. How glorious to show the world how those older than 70 can get down! Gone too soon, at 77.

How do I delete this? there is already a thread under Miscellaneous Music.

Just saw that the Cuban singer Ibrahim Ferrer passed away. Not jazz per se, but... I saw him a couple of times after the Buena Vista Social Club rediscovery of him, and he really was lovely in person. How glorious to show the world how those older than 70 can get down! Gone too soon, at 77.

It's music from the Ethiopiques Series, namely Volume 4, which is marvelous!!!!! I'm forgetting the name of the primary artist.

uppity

Blue Monday by New Order? But seriously, I just came back from seeing the reissue of "Elevator to the Gallows" (please forgive my inability to give the correct French title). The Louis Malle film is playing at the Laemmle Royal in West Los Angeles. I imagine it must be at some other revival houses, or will be soon. That Miles Davis soundtrack is really quite marvelous in the film. Kenny Clarke's brush work throughout. Etc.

My deepest condolences, Berigan. Adam

RIP Al. Saw him in 2001 at the Bebop convention in Los Angeles - a delightful person & player. And that CD of his from 1999 is good as well.

heck, i'm looking forward to the Bechet Select!

didn't we just do this thread elsewhere?

Oh yeah! That's in 'Vanilla Sky', at a party scene. Another Cruise/ jazz reference. Hmmm. ← And yet another in "Jerry McGuire." Tom plays a tape or CD for Renee that someone has given him, and it's Mingus (I think "Better Git It in Your Soul" but I could be wrong). Tom asks "What is this shit?" and turns it off.

Can you line up some vinyl on your front lawn to sell? A nice back ground for the TV news crews when they show up.

Interesting. I'm curious to know, Adam, if that is the standard German understanding of Mangelsdorff and others, or if that is the idiosyncratic interpretation of Wolfram Knauer, the writer of this piece? If Tristano and Konitz are that influential on German jazz, then I'd be curious to hear a lot more of it (not that I'm not already curious about German and European jazz in general). RIP Albert Mangelsdorff. LONG LIVE ALBERT MANGELSDORFF!! ← Alas, I received this as a forward from a Swiss German friend. I'm not German and can't answer your question.

RIP. here's another story: From: Jazzinstitut Darmstadt <jazz@jazzinstitut.de> Reply-To: <jazz-research@yahoogroups.com> Date: Mon, 25 Jul 2005 10:18:41 -0700 To: <jazz-research@yahoogroups.com> Subject: [jazz-research] German jazz trombonist Albert Mangelsdorff died German jazz trombonist Albert Mangelsdorff, 76, Died Albert Mangelsdorff (born 5. September 1928, Frankfurt am Main, Germany; died: 25. July 2005, Frankfurt am Main, Germany) Trombonist Albert Mangelsdorff, probably the most important jazz musician in post- war Germany, died on the morning of Monday, July 25th, 2005 in his hometown Frankfurt am Main, Germany, after long illness. Albert Mangelsdorff had violin lessons as a child and was self-taught on guitar. His brother, alto saxophonist Emil Mangelsdorff (who is still alive and playing at age 80), introduced him to jazz. After working as a guitarist Mangelsdorff took up trombone in 1948. In the 1950s Mangelsdorff played with the bands of Joe Klimm (1950-53), Hans Koller (1953-54), with the radio orchestra of Hessischer Rundfunk in Frankfurt (1955- 57) as well as with the Frankfurt All Stars (1955-56). At the same time he led a hardbop quintet together with Joki Freund. In 1958 he became musical director of the newly founded Jazz-Ensemble des Hessischen Rundfunks and represented Germany in Marshall Brown's International Youth Band appearing at the Newport Jazz Festival. In 1961 he formed a quintet with Heinz Sauer, Günter Kronberg, Günter Lenz and Ralf Hübner which became one of the most celebrated European bands of the 1960s. During this time he also recorded with John Lewis ("Animal Dance", 1962). After touring Asia on behalf of the Goethe Institut in 1964 he recorded the album "New Jazz Ramwong" later that year which made use of Eastern themes. He also toured the USA and South America with the quintet, which was reduced to a quartet (1969-71) after Kronberg left, then revived with Sauer, Gerd Dudek, Buschi Niebergall and Peter Giger (1973-76). At a festival during the Olympic Games in Munich Mangelsdorff first performed as unaccompanied soloist in 1972 which resulted in many solo tours and recordings during the next decades. In the 1970s he recorded with Palle Danielsson and Elvin Jones (1975), Jaco Pastorius and Alphonse Mouson (1976), John Surman, Barre Phillips and Stu Martin (1977) and others. He participated in Alexander von Schlippenbach's Globe Unity Orchestra (from 1967 into the 1980s), Free Sound & Super Brass (1975-76) led by Hans Koller and Wolfgang Dauner, the United Jazz & Rock Ensemble from its formation in 1975, and recorded duo albums with Wolfgang Dauner (from 1981). In the 1980s and 1990s Mangelsdorff continued to perform in solo and duo and trio settings, also playing with the Reto Weber Percussion Ensemble. In the 1970s Mangelsdorff was a leading figure in the Union Deutscher Jazzmusiker and, together with Jean-François Jenny-Clark, led the German-French Jazz Ensemble. In 1995 he became musical director for the JazzFest Berlin. Since 1994 the Union Deutscher Jazzmusiker awards a regular prize in Mangelsdorff's honor, the Albert- Mangelsdorff-Preis. Mangelsdorff was one of the finest trombonists in modern jazz. Like most German musicians he was at first influenced by the cool jazz idiom of Lee Konitz and Lennie Tristano, then played hard bop, later introduced modal means of improvisation, free jazz and jazz-rock elements in his music. His playing was characterized by wide- ranging melodic lines. He had an imposing technique and was, among trombonists, the most innovative player of multiphonics note, for instance his playing of the theme of Duke Ellington's "Mood Indigo" in three-part harmony on the album "The Wide Point", 1975, MPS, or many of his improvisations on the LP "Trombirds", 1972. Mangelsdorff life story is told in a biography by Bruno Paulot published in 1993. The story of the vivid Frankfurt jazz scene from which he emerged has been written last year in the book "Der Frankfurt Sound. Eine Stadt und ihre Jazzgeschichte(n)", written by Juergen Schwab and co-published by the Jazzinstitut Darmstadt, the city of Frankfurt and Hessischer Rundfunk (Mangelsdorff was present at the book presentation last summer). Wolfram Knauer >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> Jazzinstitut Darmstadt Bessunger Strasse 88d D-64285 Darmstadt Germany Tel. ++49 - 6151 - 963700 Fax ++49 - 6151 - 963744 e-mail: jazz@jazzinstitut.de Internet: http://www.jazzinstitut.de <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<

They could start calling themselves the Los Angeles Angels of Anaheim