clifford_thornton

Yeah, I interviewed him in the fall but my winter/spring has been a time-suck and brain-suck, so consequently it's just getting shored up now. It should be on AAJ by late April, perhaps in more than one part (fucker is 60 pp. transcribed). I realized that, once you sort of just let yourself into Braxton's thought-world and vocabulary, a significant part of it does make sense. And if something is unclear the first time, he is glad to try his best to clarify it. I agree that not everybody has that option, but what people do have is access to the recordings and liner notes, which taken bit by bit, over and over, gradually unfurl into a dynamic system with a few choice elements that meant to spur creative thought and activity. Braxton said to me, and of his critics and their responses, that he basically "just want people to have fun and [he isn't] out to harm anybody." Sure, those four+ CD boxed sets can be daunting, but once you pop a disc into the player and let it go, the music is very joyous, fun, sometimes quite funny, and often very pretty. I understand why something of magnitude/breadth can be hard to take in over a few sittings, but Braxton doesn't expect his music to be something short-term and meant for quick consumption. It takes time to appreciate it (especially his post-1970s music), but ultimately, it's there to be enjoyed. I know that sounds simple, but it really does help to just listen and not get too wrapped up in nomenclature and theory. That stuff is helpful at a certain level, but not at all levels of the music. It's there if you want it.

It's really great. Not live, but studio material, and they work very well together. I'll be publishing a Braxton interview soon that hopefully will help clarify some of his ideas, or justify why they might not seem so clear on first, second, or third pass.

PM sent.

Mold, sleeve oxidization, this can all happen with old sealed copies stored improperly. Sometimes a good cleaning will fix it.

Without having had Mexican Nescafe, in a pinch I could recommend ol' Bustelo.

I have a feeling that the musicians involved in the Trillium E project might have some issues with this statement. Ah, cool, glad it's in the recording stages!

Whoa...

Has it been fixed on the recent CD issue of the material?

Stockhausen - Gruppen/Carre - (DGG)

Huh.

I paid a bit mote than that ! Yeah, I thought $30 was a good deal on mine!

Interesting. I've been curious about it but somehow never bought the CD when it was more "around." Now I'm less intrigued by a piano/marimba/recitation jam.

Awesome! Have a great time tonight!

oh I wish that was all we needed.

This is how the Coltrane photo by William Claxton looks like: Strange that Lonehill went for a reversed image! Were they trying to fool somebody? Robert Motherwell's estate?

Yeah, I need to get those Braxtons at some point as well. My Braxton collection suffers in the mid-80s department. Cecil with Brotzmann and Wright!

After a couple glasses of IPA, I read the thread title as "Jimmy Raney on a Rant."

Blue Oyster Cult (the first three LPs).

Wonder how much they'd sell a copy of Wipeout for, if they have any left.

Just gave this one a long-overdue spin this weekend.

Hmm. I might get that Threadgill set too, since I don't have most of those.

Occasionally things like Hat Hut and FMP CDs go for serious change, also small-label things that were around for only a minute. MFSL CDs also seem to do well. But a lot of those things I would expect that you'd be keeping and not selling!

If they are nice pressings and reasonable facsimiles...

Crazy stuff - those copies of Open Sesame are out of control. I can't believe Cohen also got almost $300 for that Consequences LP.