clifford_thornton

Deep listeners and casual listeners don't - and won't - likely meet in their approaches. I often try to maintain awareness of a statement Bill Dixon made that's applicable across a variety of scenarios - "you start from where you are – you'll get to the rest in time" - and hope that, in listening, people will get to the rest of it. But it's not always the case, unfortunately. FWIW, ultimately it seems like Washington's music could've been done better by someone else. That's the upshot.

listening on Spotify now; it's okay but nothing earth-shattering and the boomy production is really annoying. ugh, lame piano solo just started. I revise my opinion that it is okay.

Nice choice. Always wanted this one on vinyl but for whatever reason never did get a copy..."four elements" is another good one although I just have that on CD along with a few other CDs that focus more on his electronic work. yeah, I prefer his piano music to his electronic music. I had a couple other CDs of his piano works but can't seem to find them for whatever reason - maybe sold them to one of you guys!

Charlemagne Palestine - Strumming Music - (Shandar, FR)

I use "interesting" but attach it to interest/value in pragmatic philosophy and thus have no problem with its use in this sense.

I getting this Apparently this a deluxe book/CD/DVD thing so $70 is the actual price. More than I'd prefer to spend on 3CDs but I will get around to it one day. Squidco does have it now. Want it.

"a little hippy-dippy for us..."

curated.

Ha - Morricone LIVED for scraping and clattering!

Picked up a Liberty of that Turrentine/3 Sounds LP years ago - it's really something special. Never had a rule to not sell vinyl - if I upgrade it or am not into it, out it goes.

I don't know whether I'd want to hear it with some new mix - maybe - but I'll just keep reiterating that this is an excellent, excellent album. Shepp's stab at populism was still pretty damn creative.

"I Got it Bad" is certainly weird - yeah, Shepp could've laid out some - but I have no problem with it in the context of the LP, which should be taken as a whole. Shepp didn't seem to be thinking in singles, after all, and there certainly is a shambolic theatricality to its arrangement. Messy doesn't mean something isn't good. Hadn't listened to "Theme for Ernie" in a while. Such a fantastic piece.

Used to have a somewhat worn Liberty gatefold, which was my dad's. I wasn't as struck by the music as I'd hoped to be.

Great record - I have a Japanese Victor reissue with Prestige artwork. Such a lovely combination of musicians.

It actually was released on vinyl as well. Manufactured by Doxy.

I seem to recall some shows from 90/91 being quite strong too, so wouldn't throw out entire years/decades before hearing the sets.

Yeah, it's pretty awesome.

Wish I did - damn.

And there we go back to the question- if System Dialing Peoples NOT suicidal, whose Anonymous Art Money did THEY get promised if/when shit hit fan? Peter Sarsgaard and Maggie Gyllenhaal, I presume.

As oblique as Ornette is, I think that would ultimately be the reason to be "extra sure" the release is approved and though I contend these dudes aren't necessarily capital-E Evil they at least pulled one hell of a sketchy and/or dumb move. I never bothered picking up the disc so can't speak to its musical quality, but it's hard for me to want to engage it now.

My uncle attended at least one of the concerts with Ali and said it was excellent. Perhaps there was just no usable recording.

Thanks Chuck - that's the answer I was looking for.

Indeed - Mr. Koert is certainly missed.

But since this was before any of those dudes were under contract to a label - 1958 - and Bley led that band and taped the sessions, I'd assume sidemen were SOL when it came to recordings being released. Of course Bley could've been a nice guy and drawn up new contracts, but I assume it was probably within his rights not to. I also think there's a space in between "stupid" and "evil" that a fair amount of artists/businesspeople operate within. Sadly that gives many more latitude than they perhaps deserve.

Going back to the Bley thing, if Coleman was paid as a sideman on those gigs and Bley taped them, doesn't the owner/bandleader get to do what he wants with those tapes as long as publishing is paid? I count five Coleman tunes across two records, with the rest being a standard, a Roy Eldridge and a Charlie Parker line.