clifford_thornton

Cool label and glad to see these around again.

I have also escaped the music of the Bad Plus, but I'm usually curious myself to see what Iverson's writing about on a given week. Keith Tippett is, AFAIK, still kickin'.

Ah, but that cover is about as hot as Barney Wilen's Zodiac on 12-inch spread. It would be nice, I agree, to have both of these out on CD as well... but maybe that'll happen post-sabbatical. I think maybe both the "Chief" and the Shandar would fit on one disc, but that might be opening up a whole 'nother can of licensing worms. And comparing the reissue with the orig, well, the reissue sounds gorgeous. So there you go. Whether or not it's a needle drop, it sounds really, really clear. It's a well-recorded session in the first place, and I think even a bopper like sidewinder would be hip to this'n.

Nice - I think this is Arthur Jones' last appearance on record. Now: Jemeel Moondoc - Konstanze's Delight - (Soul Note)

Heat damage?

Spun the BAG tonight and it's dead quiet. The recording hasn't seemingly been too enhanced by any remastering, in fact a little less in-the-red, but still pretty righteous primal/lo-fi grooviness. The first cut still knocks me out! Will report on the Murray ASAP. My original of that is a little crackly (pressing) so I think this will be an improvement sonically.

Very cool!

I am surprised, too, that these aren't on CD but Ehlers has his reasons. That site is a lot of mutual h/j's if you ask me...

Get a turntable, HG!

Yeah, that's a hell of a unique LP. The Murray is strong, too, though originals aren't THAT scarce (I've had a couple).

Yeah, a number of times. Really, really nice guy. Interviewed him for my MA thesis in 2002 or so.

I got mine today and have not listened but they look and feel very nice. The only thing is they didn't reproduce the flipback on the Murray, rather making it into a paste-on slick. But it's still good quality vinyl and a heavy stock sleeve. Recommended on aesthetics alone.

Dusty Groove has had it... and considering what the original went for on eBay last time, if the reissue is OOP it'll be big bucks!

Ah, bullshite2000... You know, some of those rare LPs by Bent Axen, Franco Cerri, etc. are being reissued so it's not outside the realm of possibility that these too might see the light of day again... perhaps on a compilation or something.

What he told me himself.

I've heard recordings of Brotzmann and Kowald with Jazzrealities and it's pretty interesting from a historical point of view but of course the Fontana LP does it all way better without them. Keep in mind that Brotzmann couldn't read music at that time (not sure about Kowald). I believe that Giuseppi's reading was pretty good, from what I've been told. Everywhere may be a little off balance in Giuseppi's favor, but I have the sneaking suspicion that he was not playing very loudly or projecting that much. If you listen to his commentary on Patty Waters' College Tour LP, it's definitely off in the distance. Maybe that was intentional, or psychological, OR a result of poor miking.

Yeah, "Satan's Dance" is a great little tune as is "Bleecker Partita." This music is of course characterized by many to be without compositions, but then you look at artists like Rudd, Tchicai, Shepp, Taylor, Abrams, Carla Bley, Dixon... and it's clear that people were writing a lot of things that weren't entirely out of Ornette's book or a Trane-like raga. Actually, Bley and Dixon seem to, in this period (1963-1965), be heavily influenced by George Russell.

Think I got mine for free.

Nice. Was rockin' the Rain Parade (from our side of the pond) yesterday myself.

Frank Smith (ts) is on one track of the Greene. The second date includes material recorded at Town Hall on May 1, 1965 with Reggie Johnson in for Gomez on bass. A short piano improvisation and the tune "Wretched Saturday" were leftovers from the first date and take up side two of the record. Interestingly, the plates for 1st stereo pressings have only one track on side two, monos have both tracks. Also, later stereo pressings are corrected (but wretched-sounding). Typical ESP confusion!

Sorry, brain fart. Thanks.

Hey - I was just thinking of this today. Who pressed up the UK versions of Delmark titles in the late '60s/early '70s? I have a couple of discs in US sleeves (N. Kimball address) with a two-tone blue textured label and a small deep groove around the spindle hole. On the outer area of the label it reads "Made in England" and "Unauthorised lending, copying..." but again, the jackets are paste-on domestic heavy cardboard with Chicago addresses. Chuck? Anyone?

Was.

Alipio C. Neto, Matt Bauder, Aram Shelton, the list could go on. Malaby is "all right." There are also players and composers who have also been working steadily over the past 40-plus years who should be getting more and more intelligent press than they do. I have a strong affection for Giuseppi's music.

History in this music is a tough thing, especially as those in the "avant-garde" were denied a palpable sense of history or relevance in the jazz press until very, very recently. So it's with that side of things in mind that I can't bemoan the "return" of Giuseppi Logan (as well as the fact that I've long really loved his music). The current players on the scene who are doing work deserve attention NOW, especially in THIS music. Giuseppi didn't get a whole lot of it then, I presume, but the best way to rectify that could be to give young avant-garde players outside of the hype-machine their due... rather than overdoing the "making up for lost time" bit. Otherwise the cycle will continue and we could be kicking ourselves in forty years for dropping the ball on a neat 30-year-old musician.