clifford_thornton

I don't agree with Iverson that a Waldron record is entirely 'made' by the presence of Blackwell vs. somebody like Pierre Courbois or Fred Braceful. Sure, Workman and Blackwell are amazing, but I don't think any of those European or Japanese trio records "suffer" because of different/more obscure personnel.

I have gone through periods of really not liking Hill's music, but like I've said elsewhere, it still feels like there's something there that I'm not getting and consequently find hard to put into words. Otherwise, why would I keep buying his releases?

I like that LP. Bob Degen is from Pennsylvania, and I think a fine player.

DJ CORBS!

Certainly one of the finest of the 70s trio dates. I also like Number Nineteen.

I'm going to have to think about this some more and get back to you.

RT, those are wonderfully sacrilegious.

Thanks. Well put.

Not to derail, but I need to go back and listen to some of Bill's piano playing with that (and other) rhythm sections (In Italy; Son of Sisyphus). He's expressed that there was an unfulfilled wish/idea to do some recording with Andrew Hill. If I recall, they did an impromptu duo in Italy as well.

Lunchtime spin of side two of Rhythmatism and side two of Blythe's Metamorphosis - two VERY different approaches to percussion on those records by one hell of a player. Took some years for his work to go from "ahh, that's good" to "damn, what the fuck did he just do?!" in my experience. Dunno anything about broken beat or Four Tet, but would like to give more than a cursory listen to what he was up to recently.

All those Mustevic LPs slay (well, I can't say all b/c I don't have the Les Walker solo). Clearly he was always evolving, however.

Why rag on chewy's grammar? Who fucking cares? It's probably more his shtick than anything, and most of us here have one.

I've thought about buying that. Thanks for the rec.

Not that this isn't a "good" record but the Japan-only ECM/Globe LP Spanish Bitch slays it.

Let us know when you decide to swing south through Texas and Looziana. We'd love to have you.

I, for one, appreciate chewy's grammatical structure - it gives spice to the discussions here. And that's as a fairly rigorous grammarian myself. Anyway, Mizell - really? I would OF thought he'd fit right in with the Strata East vibe that was happening at the time. Maybe an update of Take Twelve with Jordan, Walton, Higgins and Bill Lee?

The only one of the Soul Notes that I have is Strange Serenade, where he borrows Bill Dixon's rhythm section at the time. Apparently they did a quartet gig in Italy - what a gas that would have been to hear. I also like Hill's Steeplechases for what it's worth.

It's only been in recent years that I became intrigued by his work as a leader and a sideman. A strong and invigorating player who worked with Charles Tyler, Earl Cross, David Wertman and his own units, Reid studied Senegalese drumming in the 1960s and was a fairly integral part of the New York loft scene. In addition to recent collaborations with electronic artist Four Tet, much of the in-demand Mustevic catalog (a label he operated in the 1970s) has been reissued. Way too young to go - he'll be missed.

Curtis Counce Group - Carl's Blues - (Contemporary yellow label)

If I want to avoid using binoculars, gotta shell out the big bucks.

PM Sent

Yeah, that would make sense if BS/SN aren't going to give you PDF access with purchase!

Nice - original or Shadoks re?

And if you have two copies...