clifford_thornton

Yeah, oddly enough I've seen Umar also spelled Omar. I guess Umar is correct (because it's on Impulse) but until now I'd always seen it spelled the other way.

Bill D brought Shorter up to Bennington as a lecturer. Rashied Ali and Esmond Edwards did not get along, and the sessions were aborted midway through. Shorter returned with Muhammad Ali and Charlie Haden to finish the date.

1. Yes 2. Yes 3. Don't know - not sure if his illness was so pronounced in 1965 as it later became. Hot and cold on his music but generally find him intriguing at the very least. Supposedly Orgasm's book was composed before Alan heard Ornette's music (and years before the album was actually recorded and released). I'm not sure how true that is, but that is what I've been told.

This stuff is good: http://family-vineyard.com/products/kid-millions-jim-sauter-fountain

Condition is often an issue with Discogs sellers because they don't have the same "buyer protection" put in place that eBay has. Then again it's always a crapshoot, even in person! I still would not fork over a lot of bread for the Sam Rivers Impulse LPs. They are quite good but also common.

Oh wow. I'm in line for a Japanese pressing then. I've got a French copy filed and have had a couple others both with a distorted side two.

Damn! I need that!

Most of the Matchless catalog is pretty sick. Anything not verified as completely sick means I just haven't heard it yet.

au contraire, there's another Curson that Black Lion didn't issue - Urge (w/ Ervin, Jimmy Woode and Edgar Bateman) - and it's a hell of a record.

Didn't a multi-disc DKV set just come out? I have that and it's good, but... I would certainly pick up the 50th birthday box. Curious how he sounds with Prévost and Tilbury.

The original issue of the JCO was a gatefold with nice photos and a lengthy poem by Paul Haines. The Japanese LP reissue didn't have these (just a single-sleeve). I doubt that this bootleg will either. Hopefully legit reissues happen at some point though I'm not holding my breath.

Happy 89th Birthday to Bill Dixon !

I think you're right about non-Hill material being on the Hill "reissue." Definitely the string crap is on there. [shudder]

Haven't heard these in over a decade. I remember liking them more than some other folks, but honestly need to revisit.

Brötzmann/Edwards/Noble/Adasiewicz - Mental Shake - (Oto Roku)

Definitely have had 33 1/3 7"s at 15 minutes a side, but not any 45s longer than about 6.

I think it was around $60 new when it came out several years ago...

I think you all will really enjoy this record. It's a killer.

I processed the Jazz in the Garden flyers/posters/etc. in 2001 while interning at the MoMA after undergrad. Fun times. Never had the TCB issue of the material, so I'm actually shocked they fucked it up so royally.

Wow. I'd love to hear this.

Not knowing Adorno too well, I'd assume that the attention focuses too much on the past (having been heard) or the future (what one expects to hear) rather than what's being experienced/heard currently. I would also say that a dedifferentiated listening approach (cf. Ehrenzweig) allows one to take in a variety of parallel stimuli on a level auditory field, in real-time.

Eh, I don't care about who is best, since that seems to be the canon we're all fighting against/trying to expand. The criteria by which I measure someone is certainly in part whether they've been there doing the work for a long time (recognized or not), but also whether the work has the conviction behind it to stand next to the diverse body of valuable work that has come before. Take someone like Paul Flaherty. He's certainly far from being canonized in the realm of free music, but he's been dedicated to his craft, unwaveringly so, for decades and has the track record to prove it. Laubrock is a totally different player, but I can see/hear the long view in her music already. I also know from listening to her that the music she hears is beyond what she plays (in other words, she's reaching for something). So work - really doing the thing, and seeing beyond the thing - I'd say are essential to whether I feel like I should be paying attention. And certainly I still miss people hanging onto any such criteria. I also don't have to "like" an artist's work to appreciate their contributions to the music and the work they've put into it. Like Bill Dixon said, "okay, you don't like Napoleon - are you going to rewrite history and leave Napoleon out of it?"

As a sometime critic (less so in the past year or so), I can say without question that I continually find myself asking whether something will matter or be worth holding onto a few years much less decades down the road. I have done that a lot with my CD collection lately - stuff I've reviewed and liked, as well as stuff I wasn't sure I liked but felt like it was something necessary to understand the context in which creative music is now played. This has resulted in a lot of culling, but Ingrid's records are all still here. I think they are really good, and her voice is one that is interesting to watch/hear maturing. Henderson for sure; to me I feel like she's also found the point of interaction between the vocabularies of Wayne Shorter and Evan Parker. Agreed with Ayers upthread on what the Zurich music is designed around. The compact disc also excises some aspects that may have damaged the "flow" (no spoken bits) and I am sure it's been mastered for home stereo/stoner phones digestion. I found no problems with the sound. Also, I saw the group (at the stone) before hearing the record.

got my copy of Silver Cornet yesterday - looking forward to diving in.

I agree - not counterfeit, just some weird vanity label cashing in on name recognition. The dude appears to have signed every copy of that damn 45, too!