clifford_thornton

lucky you guys to have "shelves." In Brooklyn I have nooks and stacks.

They look nice but get worn pretty easily - my copy of the SME Oliv already has ring wear!

Dunno about legitimately - Free Factory reissued it but I'm not sure if it's a boot or whether the tapes were leased. I know Dixon did not see royalties from it and the original contract stated that he and Shepp owned the masters and just leased them to Savoy for a dollar a year – something like that. Beautiful record. Keep your ear to the ground for more archival Dixon music to make an appearance on Triple Point in the coming year or two.

it is a really good title. Saw the Vision Festival set that became this disc; wasn't floored by it in concert but on record it smokes. Go figure.

He was also in Stories and Montage. RIP.

I'm sure I got mine not that long ago for much cheaper. It's a 2CD non-"on demand" version.

Romano was mostly based in Paris then, no? Seems like Carter was bouncing between continental Europe and the States at the time. I'm sure some of this is in Conversations but I don't have it handy. I think the upshot is that the rhythm section left Lacy's band to play with others. Part of me recalls hearing that they were going to come to NY after Argentina, and Dyani and Moholo were going to hook up with Albert Ayler (not sure if true - musicianly apocrypha).

I've heard some of this record and can vouch for its excellence.

Roland Kirk - Domino - (Mercury, US stereo og)

So What Do You Think? is really good. Surprised it hasn't been reissued among the Emanems or Konnex titles though I'm not sure who even owns the masters at this point. Most Tangent LPs I've seen have been ethnographic recordings. Now: Moby Grape - s/t - (Columbia, 2-eye stereo, finger cover)

It's excellent. Wish I had one with the textured Folkways-style sleeve but what are you gonna do? Jam out on a later issue I guess!

https://www.youtube.com/watch?v=8osfRW-KTgc

don't have his leader date on Horo but the Rava is excellent.

Indeed. In fact, I thought all Impulse mono LPs were folded down.

Waltz for Debby does it for me. In the narcoleptic sense.

Really one of the best Incus covers, not to mention some of the most extraordinary EP solo on record.

Huh. I have a crisp mono that sounds great. Lucky zero dollar find.

at least the CD has extra tracks!

I have that thing somewhere... can't recall much about it off the top of my head! Now: François Tusques - Free Jazz - (Mouloudji, FR)

at that rate, you'd think they'd just print out a catalog in the middle of their magazines or something...

Yeah, I paid through the nose for the Cairo Free Jazz Ensemble years ago and wasn't into it. Sold it for a small profit at around $500 and both me and the buyer (in Japan) were happy with that. I don't think the Michael Cosmic LP is as good as the other two volumes in the series (similar personnel/artwork, Intex label) but at least with that, being a big fan of the Musra-Cosmic-Ertunç triumvirate and knowing Phil Musra personally, I feel connected in some way and don't feel like an ass for paying a lot of money. Then again there are other records that have been fairly expensive that I have played quite often and love - the Marzette Watts on Savoy (maybe around a $250 record) is an example in that gets a lot of spins in my house and felt very much "worth it." With those BNs, the LT series and the Japanese King records vary in quality - some of them are just wonderful, others are fairly so-so - but none of them are outright terrible at least. I was tempted to throw down a bill on Hutcherson's Inner Glow, for example, but our man David Weiss talked me out of it.

Would be interesting to hear Dikeman, Braxton and Fei together. Or Braxton sitting in with Cactus Truck!

I guess it depends on how much money you have and how much into it you are. Not for me, but I guess it's ok for some. Agreed with Paul - actually, it makes sense considering that there may be only one or two known copies of certain titles, and if one is a DJ, having a track that no one else has can make a set and a reputation. So it might not just be about paying through the nose for a rare record, but about one's livelihood as a DJ. As for me, there's a limit - fairly high, but when a record starts regularly hitting $1000 and up, I can't join that crowd. Not to mention that rarity and fiscal outlay don't necessarily mean that the music will be "better" than it is elsewhere. Quite the opposite sometimes!

Good ol' CRI...

Nothing wrong with having a lot of both to work with. Misha is brilliant and a fun guy to hang out with. Sad to know he's ailing.