clifford_thornton

Clora Bryant was in the article. I mean, the situation for women in jazz is so much better today than it used to be in terms of visibility... the challenge, as ever, is getting paid to do the work, and of course sexism is still a huge factor in terms of how an environment geared towards male behavior is really going to encourage equality.

NY is a mess package-wise. Still waiting on something shipped a couple weeks ago from an hour and a half away. Dunno if it'll ever show.

lol As far as the VV, I can't imagine concerts being held in NYC until 2021. I'd planned an event this fall but am supremely doubtful that it will be something I can pull off. Gatherings will have to be <50 and with adequate room for social distancing at the bare minimum, and that just isn't feasible.

Totally. She did a lot running Manna House up on the east side, saw a number of great concerts there.

Fahey, Railroad I, Takoma orig

Hipp was included. A few of these folks I was unfamiliar with previously. Not a bad article at all. Of course, in the more modern era, we shouldn't leave out Barbara Donald, Monnette Sudler, Jill McManus, Linda Sharrock, Irène Schweizer, Jane Robertson, Claire Daly -- and younger contemporary artists like Shayna Dulberger, Amanda Monaco, Mette Rasmussen, Louise D.E. Jensen... maybe a NYT mention would help get the latter group more gigs.

100% agree. It's all very strange to me.

yeah, it's too bad but they've also had some very strange business models over the years. Remember that big digital music service they were trying to roll out that took files from all their used LPs, without paying anyone? They sunk a ton of money into that thing before it became painfully obvious that it wouldn't work out. or their pivot to a dispensary? Totally confusing store/brand, seems like they've been struggling to figure shit out for at least a decade now.

That CD of solo strings on Uncool is pretty enjoyable and otherwordly, as far as recent Grimes material goes. I will be the first to admit my frustration with some of the comeback performances, some personal encounters w/ his associates were not great, etc., but at this point it's water under the bridge. I'm glad to celebrate the life and sonic impact of his music, glad he got to have some fun experiences later in life, and cherish that amazing stretch of albums he cut from 1957-1966.

yeah, I saw that 2004 concert -- was fun indeed. Grimes was a bit hesitant but the sound was certainly there.

yeah, I do. Pretty common parlance in record collector circles.

Bootlegs are everywhere. This isn't anything new...

For sure. Slide Hampton, Barre Phillips, and Stu Martin also come to mind, as do Mal Waldron and Nathan Davis.

He was something else, and from somewhere else. Sometimes that latter part could be frustrating, but he was true. RIP.

Indeed it doesn't. I've seen his name spelled both Giuseppi and Giuseppe; I recall hearing that the "e" was actually correct, though most recordings from the period list "i" and I don't have the article handy where this variation is detailed... mods can change it if they like! Stollman had this to say about being in the control room for Giuseppi/e's debut on ESP: "At one point, I was standing with the engineer in the control room, and I thought the piece they were playing was stunningly beautiful. It sounded totally spontaneous, as if they were ad-libbing and commenting like a gorgeous conversation. Suddenly, I heard a 'thwuuunk,' and I realized that the tape had run out. The engineer and I were so absorbed, we hadn't been paying attention. I thought "oh God, this remarkable thing is lost. It was interrupted in the middle, and it's gone." Richard Alderson was the engineer, and he got on the intercom and said "Giuseppi, the tape ran out." Without a pause, Giuseppi said "take it back to before where it stopped and we'll take it from there." So he did, he wound it back and played some bars of it and took down the record button, and they resumed exactly what they were doing—there was no way of telling where one or the other ended. It was unreal." https://www.allaboutjazz.com/bernard-stollman-the-esp-disk-story-by-clifford-allen.php

According to his close friend Matt Lavelle, reedman and composer Giuseppe (or Giuseppi) Logan has passed at the age of 84. He had been in an assisted living facility in Queens for quite some time. I do not know if this was COVID-19 related or not, still waiting on more information. Very sad news; I had been hoping to meet the man at some point but it never came to pass. His ESP records and sideman appearances are stellar, and his brief return to the scene some years ago was fun and welcome. He was a true original, and I feel lucky to have walked the earth at the same time as this man. Rest in Power.

Chicago to New York is f'ed right now. Stuff just sits. But it will probably get there eventually. I speak from similar experience.

RIP indeed. Bet he was great in Krapp's.

yeah, I only have ever had the LP. will keep an eye out for the box. I knew it existed, just never grabbed.

Amazing stories. I suppose Peter Ind, Tox Drohar, and Ted Brown are the last remaining members of that original Tristano school?

Saw something alluding to this on Brad Linde's instagram. RIP. What a life! Feel lucky to have seen him a few times.

I don't have the IASW box, but I just grabbed this as I'd only had CD-R rips of the OTC box previously.

Not that small a label -- America, also part of the Musidisc family, issued two Waldron LPs that were recorded around the same time. But it is possible that he was improperly credited on this release, sure. Then again, America releases are not immune to typos and other weirdness.

Definitely sounds like him, but all that I have come across lists Frank Abel, Jr. as the pianist. I think Mr. Abel is still alive and living outside NYC, so he could hopefully be asked. Either way, it's filed with my Waldron records and a bit of a mystery it remains...

I wonder if these are real CDs or not?