clifford_thornton

Yeah, Einstein.

It has been yanked because it's now available on DVD or Blu-ray. So you can watch it, and if you can't find it I can get one for you (I work for Robert Wilson).

I would listen to these but I have Ornette and Don Cherry going on the deck.

RIP. Interesting character and I'm glad for the work, even if I didn't totally connect with it.

I'm 41 and am not bothered by the term cisgender or by gender nonconformity. The assumption that gender fluidity is a Millennial construct, and not endemic to the human condition, is totally bass-ackwards. I think some of y'all watch too much cable news. I associate Candy D. with smooth, pop-jazz, and sort of a bastardization of her father's music with De Perikels (and later). Kelly is a bit more of a traditionalist than that, although she does traffic in some very populist moves and histrionics that are probably designed to sell records.

That's REAL nice. Do you know the dimensions?

Joe Diorio + Steve Bagby -- Straight Ahead To The Light -- (Spitball)

Dave Bailey -- One Foot In The Gutter -- (Epic, JP)

Göteborgs Musikvartett -- s/t -- (SJR, Swe)

yeah... agreed, but I think we cis mostly-white, somewhat straight males in the jazz peanut gallery are beginning to grasp the implicit biases in our understanding of how and why cultural work is created, and there's going to be a lot of weird pivoting until once again we can say something sucks with impunity.

Yeah, Mazzarella is fantastic.

yeah, I think the next night was with Nasheet Waits, perhaps the first time they played together? Would've been '02 or '03 at the latest.

RIP. Saw him once in duo with Brötzmann at the Empty Bottle, and his playing was so subtle and masterful. PB was clearly in awe, even if it was a slightly odd match.

Nathan Davis -- Happy Girl -- (Polydor, FR) always interesting to hear Larry Young play the piano.

Hey, I know a few 25-30 year old saxophonists. Some are more original than others. None of them are getting real money gigs or the endorsements of their elders -- but they do put in the work. We'll see at the end of the day how it all turns out. I know at least one altoist who thought about going the Grace Kelly way, he claims, and made an about face to do something else musically. I think we all know that for women to get somewhere in this music they have to work a lot harder and possibly sell out more often than their xy counterparts. And I think that implicitly we might judge young women playing this music a bit more harshly than we would an older bloke playing the same stuff. But that also doesn't mean we can't critique a young woman's playing/approach if it doesn't work for us.

There is reason to play bebop now, and she can certainly do it technically. But the music is more than technique. Lacy was 25 in 1959 and yes, his best work was still years, decades in the future. But hearing the tentative curious steps of Lacy in 1959 is to hear someone with a unique voice, if not a total concept, and Kelly does not have either. She's "fine" in the way that the sushi and brisket wrap I had for dinner last night were "fine." I didn't get sick, felt like I probably spent too much money, and there are quite a few other places to eat that will allow me to skip this one in the future. But hey, I survived the experience and didn't go away starved, so...

yeah, that is a good album -- had a copy at one point that was a little bit damaged, and would like to find a nicer one someday.

Ditto.

Matana is a force of nature. Grace Kelly is not.

yeah, when she doesn't fart around on stage like a complete buffoon she can play just fine. Unfortunately it seems that she rarely concentrates on just "the music." That has been my experience live as well as watching footage online.

Wow. RIP.

not sure; according to artists I've talked to, John Hammond wanted to record a few examples of the New Music in the late '60s, hence the Burton Greene and (unissued) Sunny Murray discs. I'm sure there are a number of one-shot deals in Columbia's history (certainly with weird rock bands).

Slint -- Spiderland -- (Touch & Go, from the boxed set remastered reissue)

Strangely, I've never owned this though I've seen it quite a few times in the racks. Can't find any credits for the Murray track though the short clip on the Smithsonian Folkways site does have tenor saxophone... of course the transfer is so bad it's hard to make an educated guess as to the participants.