clifford_thornton

Thought there was a Hubbard track on one of those Jazz Jamboree records but I can't seem to find that listing now.

Sinton's picks are ones I would either have picked or have thought about.

Yup. I thought it was still available from the label (board member ATR) but maybe not any longer.

Never heard Butterglove, oddly. The Breadwinner LP compiles the 7"s (and was previously on CD though that's long out of print). I used to have one of them but for whatever reason, that's all. Too much to keep track of.

Yup.

Where to? We've gotta start looking in June, not looking forward to it but the rents in our hood are just too damn high.

Don't have but would like to.

What a bassist. What a composer. Have quite a few of his LPs and CDs, and have always enjoyed seeing him live when the opportunity arises. The solo LP on Incus is really strong; I've got a copy with an Alan Davie print as the cover (housed in a nice hand-assembled jacket), as well as the regular Incus LP. The former was purchased as part of a Maya fundraising campaign and I was glad to contribute. Guy's dedication to visual art and his broad-mindedness make his work extra appealing.

Fascinating guy. Glad he did what he did in the time that he had.

There's some interesting stuff in there, but I hear that there were interviews with some obscure loft-scene improvisers that were cut and may be held for another volume. I'm all for reading conversations with Han Bennink, but it's the conversations with people like Juice that are of more interest to me personally.

Sometimes I can do messy and aimless, sometimes I can't. I did like the Ellington project, which had some very strange moments indeed (whether it was truly "Ellingtonian" or not is another matter). His small groups seem to work better as blowing vehicles than as areas for compositional research, and I don't think Hamid Drake fits very well into a tightly structured setting (Denis Charles and even Susie Ibarra were much more interesting in In Order To Survive, for example). Really like the latter group/s, and also got a lot of mileage out of the pieces on Through Acceptance of the Mystery Peace. The boxed set of archival recordings on NoBusiness is cool but I can see why a lot of it never saw issue before...

Reedman Henry Warner, who worked extensively with New York new music figures Billy Bang, William Parker, and Earl Freeman among others, died on Wednesday in hospital after a long illness. A fascinatingly discursive improviser, he will certainly be missed. Wish I could make it up to Mount Vernon today for the service; met him once and he seemed like a great dude.

Nice! I have the Chief CD. Any sonic difference?

Both are / were very special musicians for different reasons.

Nice! I don't know about "blasting opera forward," but I do like Trillium quite a bit.

"Same Shit Different Day" (or in this case, different year) I am not super into the sound at Roulette, and last year's VF had some egregious issues in that respect. But since cynicism is not allowed in talking about free music, I'll refrain from complaining too much.

True true, and in a sense the position of Wynton and Crouch provided a bulwark for the underground to gain steam against.

I have an incomplete boot of the Temple performance, so will be picking this up on CD. Fantastic stuff.

I'll go see Halvorson & Alcorn, go across the street to the pub, and come back for the Die Like A Dog Trio. Would like to see Moondoc again.

funny old times ;-)) kept "Spirit Sensitive", but got rid off "Fathers and Sons" though.....reg Von Freeman very much preferred Mr. Nessa`s product(s) and had an extra weak point for "Young and Foolish" on Daybreak Yeah, the Daybreak LP is great. Regarding Chico, Arthur Blythe, Don Pullen and that early '80s scene, I think those guys were way more on top of merging creative music and the tradition and doing something really worthwhile with it than the Young Lions of the period. Would much rather spin an accessible Chico Freeman LP than anything by Wynton and his ilk. probably me being not clear enough, but by no means it was my intention to put Freeman, Blythe, Pullen et al synonymous to "Young Lions" or "Wynton`s world".......but probably while lurking into neo classicism it became tempting to cross-over....in Chico`s case this happened (for me) via "Father and sons" (somehow mirroring Ellis and Wynton Marsalis "projects"....??) No, I know what you meant. I was just saying that those guys seemed to do a better and more interesting job of making cohesive, forward & backward-looking work than the Young Lions did, and should've been the ones to "make it." Imagine if JALC was headed by someone like Olu Dara?

Rock Island, IL may suck but the Chicago, Rock Island & Pacific Railroad was really fascinating. Anthony and I share a love for trains (as does Joe Morris).

funny old times ;-)) kept "Spirit Sensitive", but got rid off "Fathers and Sons" though.....reg Von Freeman very much preferred Mr. Nessa`s product(s) and had an extra weak point for "Young and Foolish" on Daybreak Yeah, the Daybreak LP is great. Regarding Chico, Arthur Blythe, Don Pullen and that early '80s scene, I think those guys were way more on top of merging creative music and the tradition and doing something really worthwhile with it than the Young Lions of the period. Would much rather spin an accessible Chico Freeman LP than anything by Wynton and his ilk.

Initially it looked a little SSDD to me, but after re-looking I may hit up the 12th and 13th. Last year the crowds were immense and it was somewhat unnerving.

All I can say is that by the time I got around to "Don't Get Around Much Anymore," the last cut of the album, I had pretty well had it. But I do appreciate your thoughts on the album, CT. NP: I'm a fan of the Human Arts Ensemble in its various permutations: THE HUMAN ARTS ENSEMBLE LIVE, VOL. 1. Circle Records. Recorded live Holland, May 1978. I'm still not completely certain who played on this album. The album credits only Charles Bobo Shaw Jr on drums; Luther Thomas on alto sax; and, John Lindberg (misspelled Linberg) on bass. The picture of Lindberg on the back cover is amusingly postage stamped size, while the picture of Joseph Bowie on trombone is the same size as those of Gray and Shaw, even though Bowie is not official credited on the album. At the end of Side 1, Bowie is mentioned by the announcer, as is James Emery on guitar, seen in one of the photos, as part of the ensemble. Officially though, they are not part of the recording. Anyway, these guys really bring it here. I've been puzzled by that cover too. I don't have vol.2 but aren't Emery and Bowie on vol.2? I assumed it was a shared back cover for both volumes. Someone must have both volumes...... Yes, that's correct. Found an image of the back cover of Vol. II, same as Vol. I, except that the credits are different, showing Shaw, Joseph Bowie, and James Emery. Huh. I remembered it as being a more standard look between the two volumes. Lester Bowie was from St. Louis and there was a fair amount of back-and-forth between BAG and the AACM in the late '60s/early '70s. And they convened in Paris too. BAG was more multi-disciplinary, involving painters and theatrical events as well as music, poetry, and education. Now spinning: Mudhoney - Every Good Boy Deserves Fudge - (Sub Pop, raspberry vinyl)

All I can say is that by the time I got around to "Don't Get Around Much Anymore," the last cut of the album, I had pretty well had it. But I do appreciate your thoughts on the album, CT. NP: I'm a fan of the Human Arts Ensemble in its various permutations: THE HUMAN ARTS ENSEMBLE LIVE, VOL. 1. Circle Records. Recorded live Holland, May 1978. I'm still not completely certain who played on this album. The album credits only Charles Bobo Shaw Jr on drums; Luther Thomas on alto sax; and, John Lindberg (misspelled Linberg) on bass. The picture of Lindberg on the back cover is amusingly postage stamped size, while the picture of Joseph Bowie on trombone is the same size as those of Gray and Shaw, even though Bowie is not official credited on the album. At the end of Side 1, Bowie is mentioned by the announcer, as is James Emery on guitar, seen in one of the photos, as part of the ensemble. Officially though, they are not part of the recording. Anyway, these guys really bring it here. I've been puzzled by that cover too. I don't have vol.2 but aren't Emery and Bowie on vol.2? I assumed it was a shared back cover for both volumes. Someone must have both volumes...... Yes, that's correct.