clifford_thornton

Her MoMA retrospective was rad. She is important as is/was Fluxus -- it's fine not to be into it, but the movement and the art/performances/ideas were groundbreaking at the time. I like her music too and as a way to disseminate experimental art practices to the people, she found a way that was more successful than most. It was very moving to hear her speak at Ornette's funeral.

Indeed.

they also did a nice job reissuing Minoru Muraoka's "Bamboo" LP.

not yet. Comes out in the fall.

Mankunku is definitely jazz. DG does carry Mr. Bongo releases and will surely carry this one.

Actually, the book was put together by the Hudson Valley Vinyl owner (Chris) down in Beacon, not the owner of Rocket Number Nine (Doug). Both shops are closed on Wednesdays.

yeah, the 12 minute track they shared is wonderful. I've been suffering a bit of new-product-burnout (especially vinyl) for a while but this will definitely be a must-grab. Some things just need to be heard.

hope you're better !

Well, the 1963-04-26 date is a bit more specific, so that's pretty believable. Also, I guess Henri Renaud stopped gigging for some time, starting in 1964.

wow, hadn't seen that clip.

yeah, Intervall was the only one issued while he was alive. There are also a few tracks of his on that Oj Oj Oj soundtrack compilation, which was released circa '66.

Yep! Intervall is a minor classic (reissued on CD in 1992 and on LP in 2015). To me he sounds a bit like Bill Barron.

I would love to have visited the original Rough Trade shop... punk/post-punk and reggae and not much else.

I like Patty Waters' lyrics to it on the Marzette Savoy...

Takayanagi is on Sadao Watanabe's self titled 1972 LP for CBS. It's a ripper.

Ah, that is interesting -- I didn't know Nesuhi Ertegun was at Contemporary.

This is really interesting footage and it's new to me. I assume that is Kohsuke Mine on tenor? Big fan of Takayanagi and I'm glad some of this material is being rediscovered, remastered, and reissued. The Station '70 box sounds great. I was just listening to the Moers '80 LP the other day and was reminded of how each album was an innovation in some way over what came before.

Yes. The Five Spot engagement was a huge, huge deal. I was visiting the archives of abstract painter Barnett Newman (1905-1970) and his record collection was part of the library. In addition to classical LPs were a number of late 1950s-early 60s jazz LPs, including Ornette's Contemporary and first few Atlantic albums. He had seen Ornette at the Five Spot and was a fan. It was a cultural phenomenon. Interesting side note: Jackson Pollock, whose art was licensed for the cover of Free Jazz, was not the original artist they planned to use for that album. Judith Lindbloom, an abstract expressionist painter and close friend of Steve Lacy, was supposed to paint live as the sessions were taped. However she was too indisposed that day to be able to do it, and the record label ended up licensing the Pollock image instead.

reading this thread is interesting. I never completely connected with Crothers though I never had such a strong negative reaction to the music, either. Glad she was here to do what she did for sure. And Yoko is great.

Makes a ton of sense, thanks. Just re-read the liners to the second Ornette LP on Contemporary and it looks like John Lewis was out in LA and his hearing of Ornette there set the whole thing in motion. Also, Tomorrow Is The Question was released after Atlantic had signed him, though recorded slightly before (Jan-Feb 59).

right, Schuller too -- but weren't the first of the Atlantics recorded prior to Lenox in May '59?

I don't think he had an exclusive contract to Contemporary -- he went to Koenig to sell compositions for others to record, and played them to Koenig on alto. My memory of the circumstances is a bit fuzzy and would require some digging around in my library, but Ertegun swooped in and signed him pretty quickly after the first Contemporary recordings were released. I would imagine John Lewis and Mingus had something to do with that signing as well.

that Cycles set is really nice. I think you can hear the dancer better on the CD than on the LP, and that adds an interesting cast to the proceedings. Martin Davidson works wonders. I'll buy anything with Lacy on it -- think the only bandleader LP I'm missing is Space Who (though I've got a rip of the music). And of course there are scattered CDs that I've yet to pick up, but there's time. It took me awhile to appreciate Aebi but as Jim says above, it's my ears, not the composer's, that have to catch up. She's crucial to so much of Lacy's musical world.

Barre Phillips' End to End, definitely. The Evan Parker run is quite interesting too. I guess the Maneris mostly were released prior to the 2001 cutoff, but they feel relevant (as they should).