clifford_thornton

Yeah, not sure how much I paid for either of the Brötzmanns. I don't think they were ridiculously expensive. The only LPs of Herr Brö that I've thrown down for have been Hot Lotta and the Atsugi Concert, but those are pretty tough to track down and it felt 'worth it' (as if any of this stuff really is...).

nudity was definitely part of Moorman's thing. But she did play music and was heavily involved in contemporary music/dance at the close of the '50s and early '60s. Yoko Ono, Nam Jun Paik, and artists associated with Fluxus (which was in part a contemporary music movement, though most composers split after the mid-60s) were a massive influence. I thought she did something with Bill Dixon but can't remember exactly what/when. Chocolate sauce sounds more like Carolee Schneemann. Sure, performance art is ephemeral. You did have to 'be there' for most of it. Professionally I work as an archivist for a major performance, installation and theater artist (historical, but still active), so I can try to give context if anyone cares. Performance art has enough of a history that there is certainly a stand-alone aesthetic, although most performance of the '60s and '70s also drew from non-performative visual situations.

damn. Hope he's on the up and up in short order.

I like Ineke's drumming. Haven't heard this one however.

I'm still waiting to hear if my copy has been shipped. I appreciate that they are a small concern but they've been exceptionally poor communicators. I paid for my copy over 13 months ago and have only had updates as I've repeatedly chased them up. Now the thing is out I've nothing again.? That is poor indeed. I tend to get prompt replies from the shop manager Mark but maybe that's because I'm usually about to spend money with them It probably doesn't help to know that copies are on display at the venue It arrived today and is a great release up to their usual high standards. Communication needs to improve to say the least. By beef was not the delay but being kept in the dark. Glad to hear you've got it and are enjoying it. It is indeed very good meanwhile.... Brotzmann, van Hove, Bennink, Mangelsdorff - Outspan No.1 [FMP] I definitely want No. 2 now 1 is better than 2.

Too bad Oui and Club didn't have jazz polls.

I'd be into at least hearing a good example of the later band, though I prefer the earlier stuff.

Stark Reality was the Boston band. The Nineteenth Whole was led by vibist Billy Wooten.

I like them just fine.

Hmm. Doesn't sound like Oki to me but I'm not as familiar with Japanese trumpeters, if this is indeed from a Japanese record.

I can't really imagine throwing down that kind of change for the boxed set... or hey, pay an extra $100 and get a sealed copy of "In All Languages," a $15 value! Sheesh... The archival material, on the other hand, is truly enticing and I hope one day more of it can be released.

I don't think my post was understood.

11. Been guessed already. Actually, I don't have any unaccompanied Portal recordings. 12. This is really good. It sounds like it could've been on Muse, or from some late '60s/early '70s Schlitten date, but I'm not pulling any names out of the air. 13. Ra has already been guessed, but this is quite special. The earlier one goes with Ra the better, I think. 14. Not bad for Dave Douglas - I actually like this, though Lacy's tunes are hard to ruin in my experience. 15. Djanger Bali is certainly something I've been curious to hear. This is real nice. 16. Hino?

07. Familiar yet unfamiliar - I'll give this another try. I like it; has the distinct early 70s feel of some Americans in Europe, though not sure which ones. 08. British. 09. ICP-related? 10. Annette Peacock & Paul Bley with Han Bennink - a track off of Dual Unity, "Gargantuan Encounter." Good stuff, hadn't heard it in a while.

01. Sounds contemporary-ish; the accordion is an interesting touch but the whole thing is not for me, though the players can play. 02. Dahl's been guessed already - new name to me but I enjoyed it. Shades of Bernardo Sassetti, Masabumi Kikuchi filtered through Mal Waldron. 03. Yes - Konitz on Varitone, playing the music of Giovanni Tommasso. I like this record. 04. Instantly guessed Rivers' Beatrice and I've been meaning to pick up that material with Hymas. Nice. 05. I couldn't get into it for some reason, and didn't recognize it (though I may in fact have it!). Seems like two percussionists here but I got bored and moved on. 06. It's one of the tunes off of Jeff Clyne's Springboard, with John Stevens (dr), Trevor Watts (alto), Ian Carr (tp/flh). Not sure which one - will dig it out tonight and remind myself - "C4" maybe?

Less inclined to get it at this point.

Huh. Oh yeah, his solo just started - wow. Definitely sounds like Trane.

I see what you're saying - believe me - but we are talking about a specific estate, specific people, and numeric figures (or ballparks) that have been quoted, usually resulting in labels that balk (i.e., high five figure guarantee minimum on a release that won't make that - ever). Certainly the estate has that right, but it seems absurd. I'm far from a fan of grey market material, but consider myself a scholar of the music and try to hear as much as I possibly can.

what I'm saying is that the estate is doing a disservice as well by refusing even good deals from respected labels. It seems like a waste. Sure, they have a right never to release anything they own for less than a million bucks or whatever, but c'mon... I feel like that kind of attitude encourages people to do things within the grey market.

Me neither, although I might go there on original gatefold pressings of the first two McPhee Hats.

Very sorry to hear this. Like you, I contributed to the Kickstarter campaign for this terrific recording. I was lucky enough to attend the R.A.W. performance by the trio of Morris, Haynes, and Bern Nix and got my copies directly from Stephen Haynes. I don't know who's responsible for sending out the kickstarter copies but it sounds as though they're not doing a very good job. Best of luck to you. One strategy might be to contact Stephen directly via facebook. It's possible that the disc just got lost in the mail.

Really? I didn't think it was that expensive. Of course, paying $12 at Reckless was a minor coup.

Sorry to hear this.

Got the LP but looking forward to this. It's a strong session. I have a radio broadcast with Chris Amberger on bass from a few years earlier that's awesome as well (although admittedly kinda lo-fi).