clifford_thornton

Is Bill Dixon's signature there? He was a copyist for Russell and was at one point asked to join the sextet, I believe.

+1

Jeanne Lee & Ran Blake - The Newest Sound Around - (RCA-Victor, Japanese stereo pressing)

Whenever I see OP, thankfully I always think of Oscar Pettiford.

Need to dig that one out again...

Can't wait.

Thanks for the reminder. That would've been something to hear.

I'm tempted to hit the Canada Day night. Eisenstadt is good though I'd rather see him live than listen to the records, which generally have sounded a little too crisp for me.

True West toured with REM around the time of Drifters, and perhaps afterwards too. Haven't gotten as into Wynn's solo career but probably should revisit some of it. I was always more into the heavy stuff (surprise, surprise) so Dream Syndicate and their scruffy allies were more my speed. I respect Yo La Tengo but most of their output is not for me, save anything that is clearly informed by a Flying Nun obsession (the label, not the TV show).

Days of Wine and Roses is great. Medicine Show and Out of the Grey are pretty solid too, but the first record is just killer. I like True West a lot, especially the first EP, but Drifters is also really strong (if a bit less raw). Haven't investigated much of their stuff after Drifters, since the lineup changed significantly after that with Russ Tolman's departure. I could never get into Green on Red beyond the first record, and barely that one... never heard the Steppes. Opal is a bit heavier and weirder, but they rule and were part of that scene as well. Actually, re: True West, just buy this CD. It contains all the early stuff and has good notes.

Tapes for the concert originally issued on Echoes from Rudolph's may no longer exist. It happens. A needle-drop can be a good thing; I worked on reissuing a record recently that we had to do from three sealed copies, de-clicking along the way and using an audio restoration engineer who'd worked on Smithsonian Folkways recordings. In this case, the master tapes were thrown out, so what else could be done? I'm glad that the music is coming out again and the artist is happy about it.

I always say that Karl should be writing more publicly and I'm happy to send him anything slated for me to review! In the Townships never felt like the record I wanted it to be, but that's more me and less Dudu. Good points on Dorn.

I wasn't either. Looking at their fb I see months of updates that never showed for me so I readjusted my settings to get notifications from them. The new one is called The Delaware River. I don't like buying these expensive LPs, but I will get this one-- the band is too good. Honest mistake; it wasn't linked upthread so... I have long wanted to have copies of those Free Jazz Group Wiesbaden LPs and they're a booger to track down, so those CD reissues will be nice to delve into as well. The Dieter Scherf LPs are solid too - UMS reissued one of them a while back on CD, Inside-Outside Reflections. Hopefully the Herbert Joos/Fourmenonly/Modern Jazz Quintet Karlsruhe catalog is next - I've scored most of that stuff and can vouch for its absolute excellence.

For sure. Though he only produced a couple of jazz records I believe - two of Chris McGregor's - Joe Boyd was very hands-on in his approach to producing psychedelic rock, progressive folk and the like for a host of British and American artists in the '60s and '70s.

I was not aware of a new Bradford-Gjerstad release on NB.

How involved in the final product's sound and feel was Eden, though? I never got the feeling that those Turtle records were heavily edited, for example.

Kampen was recorded in 2010 with Paal Nilssen-Love on drums rather than Frank Rosaly - so it's not from the tour that resulted in Silver Cornet. That band produced a killer CD called Reknes on Circulasion Totale (Gjerstad's label) that I found to be a bit better than the LP. I had no idea Echoes from Rudolph's had become an expensive LP. Mine was purchased quite cheaply around ten years ago. NoBusiness puts out some releases on LP and some on CD, and some on both formats. Not every one is essential, but most are good. If you don't have a turntable for whatever reason, you'll survive.

Can't stand Lehman or Iyer musically, though I've never met either in person, and I agree that they ARE doing some things that probably are designed to get headlines from NPR Music and other critics. But I don't hear the comparison with Washington's music. The Shipp collaborations may not hold up that well - it's been ages since I heard them and probably "clunky" still holds as a descriptive term, though I maintain that the ideas themselves weren't bad. Contemporary hip hop doesn't move me in the least, though I still like a fair amount of the old-school stuff that I came up on in the late '80s.

Yeah, I have the old Ibedon LP but would be glad to have this on CD as well.

yeah nor would I be that patient.

Conny Plank and, somewhat later, Manfred Eicher could (I suppose) be entered into this category, but having not "been there" to watch them work, one can only surmise the extent of additions and subtractions they made.

What is on Volume 2? Sultan is an interesting character. I highly doubt that most of his audio archive will ever see the light of day, however.

Very much agreed. IMO, Alderson spoiled a bunch of otherwise excellent Prestige albums. I've never understood why Schlitten employed him so often. Maybe his studio time came cheap. I always liked Alderson's approach...

He's got a pretty robust website already, but in lieu of a Leonard Feather Encyclopedia I suppose the Wiki is not a bad idea. Thanks.

Yeah, I haven't always dug everything that Darius Jones has done/is doing but I think there is a trans-stylistic, populist approach within his music that, given the right kind of 'push,' could really get to more people - I'd say the same thing about Parker and Drake. Obviously there may have been a few hangers-on but when Ornette died, there were so many outpourings of genuine appreciation as well as a lot of people starting to check out his music for the first time. It gives me hope that the serious stuff does have a potentially sizable audience - people just have to find out about it.