clifford_thornton

Well that's another story - the first run of stereo pressings accidentally left off the last track, which was fixed in the early '70s.

^ Exactly. What're you holding???

Man, I saw Low in like '96 or so do a stunning performance of "Do You Know How To Waltz?" (this droning tune) along with a few other tunes from their first couple of records. It was stunning and though I'm not sure if it was 27 minutes (20 is believable, as is 15), it ruled. To me everything since Songs for a Dead Pilot has paled. So this is not unprecedented by any means but it's been a while... glad to see they've still got that 'edge.'

Discussed as much as MomsMobley?

Some good info there for sure. Reminded me that Sunrise Studio had some fascinating stuff happening during that period as well, centering on the activities of Mike Mahaffay, Michael Moss, Dave Liebman, Richie Beirach and others.

Just a point: Graham Collier was not in Nucleus. Jeff Clyne was, and was later replaced by Roy Babbington.

Expanded issue of More Giuseppi Logan is either out or imminent. Real nice date in my opinion, with ten minutes of unheard music from the Town Hall set. Hope Giuseppi is seeing some money for this.

Honestly, nothing wrong with getting excited over rare records. They're cool. So are a lot of records that are easy to find.

Ha, yes, it is brutal.

Holy crap... Now, and pedestrian by comparison: Louis Moholo/Larry Stabbins/Keith Tippett - Tern - (SAJ) I'm pretty sure ol' sidewinder has Homefromtheforest nearly beat on the rarities front (or at least they're neck-and-neck).

Great LP but I'd actually file it among the then-burgeoning New Haven creative music scene. Maybe so, but was Michael Gregory not on the Wildflowers comp, perhaps there was some cross-polinisation going on? In the spirit of the OP's enquiry maybe you could elaborate? Well, New Haven and NYC aren't too far from one another... a number of New Haven cats played at the New York Musicians' Festival, so sure there was regional cross-pollination. And Gregory is an especially interesting character because he got into the Black Rock thing in the '80s with a group called Signal, which played in NY (and elsewhere). But Clarity is a very New Haven LP, even if it's not CMIF-related. (CMIF = New Haven musicians collective, Creative Musicians' Improvisers Forum) That's interesting. How does the approach differ between New Haven music, and music one might have encountered in a NYC loft. I have a few Michael Gregory/Oliver Lake albums, and also a very lovely - almost folk/jazz Lp, with a lot of singing. A very interesting musician indeed. Who I believe has started playing publically again recently. He was a bit of a mystery man from this far away actually. And a very talented guitarist/improvisor. Okay, the caveat being that the NYC lofts and the New Haven scene had a variety of musical approaches going on within them and that I am a bit young to have experienced it in the flesh, Leo Smith was an ex-AACMer living in New Haven and brought his particular sonic approach to a crew of young, like-minded New Haven musicians. The splintering of the AACM between Chicago and New York in the 70s certainly affected the lofts greatly so that leaderless ensembles developed with a more spacious approach to improvisation that I'd say was a far cry from the energy music of the '60s (though there were obviously holdouts). Egalitarian roles, little instruments and self-reliant spaces and musicians' organizations seemed to flourish more in New York at that time, and I think it is in great part due to the influx of Chicagoans. The New Haven scene was removed a bit from NYC and with Smith a kind of guru for those guys, a more studied granularity emerged in those musicians' work. Keep in mind that later Braxton collaborators like Gerry Hemingway and Ray Anderson were part of the New Haven scene, and Braxton paid frequent visits to town. This New Haven music is something I'm very interested in and researching as time allows.

Great LP but I'd actually file it among the then-burgeoning New Haven creative music scene. Maybe so, but was Michael Gregory not on the Wildflowers comp, perhaps there was some cross-polinisation going on? In the spirit of the OP's enquiry maybe you could elaborate? Well, New Haven and NYC aren't too far from one another... a number of New Haven cats played at the New York Musicians' Festival, so sure there was regional cross-pollination. And Gregory is an especially interesting character because he got into the Black Rock thing in the '80s with a group called Signal, which played in NY (and elsewhere). But Clarity is a very New Haven LP, even if it's not CMIF-related. (CMIF = New Haven musicians collective, Creative Musicians' Improvisers Forum)

Yeah, I didn't really get this all sorted out prior to reviewing the new Lost Tapes CD and the Jazzhus CD (which is the old L+R LP, Cool Dogs & Two Oranges). I think the later quintet with Emil Mangelsdorff and Joki Freund is more "essential" listening, but I suppose that's not what discography threads are about. Here is the text from my NYC Jazz Record review:

Only Person I have is Chocomotive, but it's a strong date.

Yeah, Bang's early recordings are wonderful.

No Business Records has been doing a lot of great stuff in this vein lately. Listening to the Melodic Art-Tet LP set presently, it's quite solid. For those who do vinyl, I can't recommend this Eremite set highly enough: There's also another AMS set on Porter Records that's quite good. In addition to the Charles Tyler date on Nessa, the albums on his Ak-Ba label are also excellent and worth seeking out. And although I've been clowned on this board for diggng Arthur Doyle, his Ak-Ba LP Alabama Feeling is in my opinion a choice left-field document. I was under the impression that Ed Hazell was doing a book on the lofts, but I could be wrong about that. Great LP but I'd actually file it among the then-burgeoning New Haven creative music scene.

Compression is hard to find - well done. Wish my wallet were thicker as a few of the new adds are must-buys.

Oh wow, nice UK pressing! I have a (stereo) US OG which sounds excellent, but that black-label British RCA is quite handsome.

The Kalaparusha is very rare and has been on my wants list for years. The Calig doesn't have any notes, just photos and personnel/titles. The shot of Kowald (inverted Hitler-'stache) is priceless.

Yeah, it originally appeared on Calig with the following front cover (the Trio jacket is an image from the back that has been tinted). As far as licensing goes, I believe that Trio would have gotten the rights from Berger. No other Calig jazz LPs have Japanese pressings that I've seen, but Trio issued other Berger-related sessions dating to that time period (Muun Music Universe, Kalaparusha/Karl Berger LP). Interestingly, this Calig date came out on CD via Enja, which also released an excellent '70s Karl Berger session called With Silence.

Right, Burn, Baby, Burn includes ESP 1073 and unmastered sessions/rehearsals. I don't have the ESP CD handy (just kept a burn of Burn, Baby, Burn) but recall some of the takes were edited and the timings are pretty off from the cassette rip. A couple of titles were changed, too. "Divine Tiding" = NXJX, for example. I believe "Soul Brother Genius" is titled Sound from There on the CD. Etc. Wish I had the cassette issue; I'd pay big bucks if one is for sale!