clifford_thornton

Ah, now my curiosity about the 3LP version has been sated -- guess there's no additional music on the release. I have the original LP, bought when you could still buy old stock copies for relatively cheaply, and it is indeed hardcore.

Indeed! In addition to graphic design she is also a rather well-known "pop" painter, sculptor, and creator of public art installations. Have read a few interviews with her; I'll try to dig them up.

I feel like I've seen the vinyl version of Sanders' Africa far less than the preceding three records in your post.

chewy does amaze.

Ballsy!

Yes.

aha, I did not know about that last concert falling apart. Bummer.

I saw him at WJF earlier this year (with Bartz and Co.) and he was outstanding, obviously having a great time and playing his ass off.

One of those outfits, like the LJCO, that I'll probably never encounter in real life.

Yeah, I've seen Miller play and enjoyed it, so this seemed intentionally weak and designed for a specific audience.

That's really the only Horace record I've totally clicked with, oddly.

Shit, that would be good to hear. I saw him not too long ago with Kahil El'Zabar and he sounded great.

Nikki Sudden & The Jacobites -- Robespierre's Velvet Basement -- (Glass, UK)

Heard about this the other day. A broken hip is no joke. Hope he mends soon.

I saw him do an in-store at Waterloo in Austin shortly after he returned to the Bastrop area. It was awesome.

To me this is mainstream music with no edge, just enough "quirk" to apply to the beard + glasses set, but rhythmically dull and tonally like soppy milquetoast. Contemporary jazz in this vein all sounds pretty much identical; yeah, sure Melford and Knuffke are strong voices on their own, but not used to any effect whatsoever here. It could be almost any New School grad on piano and cornet and I would not know the difference. The Pi set is a little more herky-jerky and obviously there are some excellent releases and artists within the subgenre (Halvorson, Bynum, Shyu, et al.) but in that case I feel that a good chunk of the vibe is keyed into the aging post-rocker who's outgrown the first three or four Tortoise records and needs something else. I was in the same place at one point but veered towards the charred earth instead of the button down set. Anyway, back to the tune at hand. Miller's drumming is just awful. I have heard her play with more fire and inventiveness, sorta, but this is unlistenable. Re: the politics: give me Irreversible Entanglements over this shit any day of the week.

Heard a very early CD of that group (or one like it) and thought it was generally a solid first effort, with some little things that made me feel like there was potential. Never really sought out anything subsequent. This clip is pretty weak and indicative of why I find it very hard to pay attention to a lot of contemporary NPR-free Pi jazz (as a category). Barf.

Ah! Good to know, I'll pick one up from you shortly.

great one. I don't have Eftsoons but look forward to an eventual CD reissue when Chuck is able to do it.

Yeah, engineered by Mr. O'Be himself but as far as I know it never came out prior. Very odd, possibly shady!

Yeah, pretty shady licensing. The Tootie Heath record came out on O'Be, which was Orville O'Brien's brief shot at a label. I believe that was distributed by Springboard, and in Japan it was manufactured by Mercury. Very strange pedigree on that one. Excellent record, though!

I've not heard the Irreversible Entanglements record, but live they are serious business. I look forward to hearing the new Art Ensemble disc; was very enticed reading some of what Tomeka Reid had to say. These Moor Mother cuts are no joke.

not to mention his own tunes, which often get left by the wayside. I remember a Lacy concert in KC, a fine duo with Danilo Perez, and the interviewer/announcer didn't ask him a single question about his own music or ensembles, poetry, painting, or any of his other interests. I was shocked at the time and still am.

grab 'em.

Great one.