clifford_thornton

The NYAQ recordings from Four Days In December are part of the Call It Art box on Triple Point. I'd also check out Dixonia if you haven't yet. Much useful information there.

that's a very trollish comment. Why throw feminism under the bus?

I have often found Duke Jordan's playing to be a bit 'cold,' whereas I hear a lot of warmth in Clark. But mechanically I can hear what Allen is saying.

I actually agree with this. That said, while many musicians have a lot to teach, quite a few do not respect academia and view this as just another gig (albeit one that pays better/more consistently). If you are screwing students, you are not there to educate, no matter what your field is.

Yeah, and not to mention he's already been accused of misconduct (which more than likely is true).

Mods: feel free to move to Misc. Music if it doesn't fit in this subforum. Osby seems like creme asshole.

not sure why, but I did change the link just in case it doesn't work for others.

Some heads are gonna roll... https://www.boston.com/news/local-news/2017/11/08/berklee-college-let-teachers-quietly-leave-after-alleged-sexual-abuse-of-students-at-least-one-found-another-teaching-job

Bud Powell -- Bouncing with Bud -- (Delmark stereo 60s reissue of the Sonet original)

Art Ensemble of Chicago -- Les Stances a Sophie -- (Nessa)

Crime -- Hate Us Or Love Us We Don't Give A Fuck -- (Planet Pimp, legit reissue of Terminal Boredom bootleg)

Yes, I have this and it's superb.

Just to bring this full circle, I got quite a look at old Wynston on the cover of Downbeat (which arrived in my mailbox today. Somehow I get a free subscription).

think I have a promo copy of that thing somewhere...

yeah, I suppose it's not all that 'far out' but I think it's a gem of a post-bop date. It's not too common stateside and it doesn't seem like anybody I know has heard of it or at least not heard it, even if it littered the deletion bins in Europe!

Oh, were we talking about Wynton?

quite fond of that one.

I think it depends on your definition of "Free Jazz." I don't really like the term in the first place because it's so limiting. But if we're going to say creative improvised music or whatever, there are still directions in which the art form can and will go, even in terms of energy playing. For example, through queering the inherent masculinity in high-octane tenor saxophone playing, Michael Foster is a significant new voice in this music. I've heard him with Weasel Walter, Andrew Barker, Ben Bennett, and in his duo project The New York Review of Cocksucking (which is electroacoustic improvisation) -- all excellent outfits. Some stylism, sure, but he's also plotting a way out of otherwise narrow routes. I've also heard some profoundly moving work by trumpeter Jaimie Branch's Fly Or Die group and Dave Rempis' Percussion Quartet (which continues to refine its own specific language). Not yet sure if any of these folks are geniuses and don't really care, but are they singular artists who work hard and have individual concepts? Yes indeed. This gets back to my original thought re: genius, in that someone considered as such would have changed the world no matter the medium they were given. I can imagine Bill Dixon, Cecil Taylor, or Miles Davis being a hugely significant author, visual artist, scientist, choreographer, or whatever else. I could imagine David S. Ware being a significant drummer, pianist, or composer of strictly notated music, but perhaps not a playwright or political thinker.

Not that I'm aware of; the hope, I think, was that this would grow into a larger performance of Abrams' music but it never came to pass. They were open rehearsals, free for anyone who RSVPed. Pretty damn amazing. Saw Muhal a few other times, all wonderful but nothing like that.

Felt so lucky to have seen him rehearse and conduct an orchestra of some of the finest New York musicians last winter over two or three days. Truly a tremendous experience.

Genius is something else. You don't have to be a genius to be singular. They're different.

God damn. No words but thanks.

Oh yeah... haven't heard it in ages, but recall some fond spins of that one.

Listening to Cryptology the other day my original assertion still stands. That music could in no way have been made in 1965 or even 1975.

I like that record.