clifford_thornton

There have easily been 3 million crappy/worthless records produced since the advent of the LP.

Just because somebody owns an independent record store doesn't mean they know anything about music or the "industry," or aren't crooks...

Will have to keep an eye out for the set - "Impressions" sounds great with Tony at the helm.

Jonas Gwangwa is another, though I only know his playing from Marc Levin's Savoy LP (he's recorded since then as a leader, I believe). Marty Cook is a strong player, at least from the few things I've heard him on.

Ah yes, Tomlinson - have only heard a little of his work w/ Brotzmann, for example. Never heard of Gail Brand. Tomlinson is on a lot of LJCO recordings as well...as for Gail, she's younger. Made a really great recording with Bay Area guys on Emanem called 'Supermodel, Supermodel'. My favourite though, of what I know of hers, is the fantastic quartet Lunge's second album here. Thanks for the tip on Brand; there are a lot of weird Emanem things that slip through the cracks and I never hear about them. I have Ode and Harmos, but little else LJCO and it's all in storage boxes anyway.

But does stereo give one the environmental quality that experience in-the-world has? Can you hear a recording as though you were quite literally in the middle of it?

Wasn't that Dolphy's bass clarinet that he played? I had Infinity for a minute but the overdubs weren't my shit at the time. Wouldn't mind hearing the material unadulterated, but...

I find this thread eminently fascinating and am glad it was revived. Now I need to get those Jane Fielding reissues.

Ah yes, Tomlinson - have only heard a little of his work w/ Brotzmann, for example. Never heard of Gail Brand.

Just nabbed this in the used CD bins yesterday. Fine, fine disc and my first prolonged exposure to Ammons' work. Do I hear a bit of him in Mobley, or is that just me?

The new Schlippenbach Trio on Intakt is very fine. I have a nice quartet recording, with Kowald, from Moers 1974, part of which was later issued on an FMP LP, Three Nails Left. Motherfucker of a performance, that one.

In the "free" arena, let's not forget Paul Rutherford. The issue of his 1975 Berlin concerts on Emanem is really nice stuff, too. Others of note: the "real" Clifford Thornton Albert Mangelsdorff Nick Evans Johannes Bauer Conny Bauer Malcolm Griffiths Willem Van Manen Daouud Haroom Charles Stephens

Roscoe Mitchell could make anyone quit their day job, stay inside and listen to music, though I hope the illiteracy doesn't come with it.

What, no Just Music?

Cool, thanks Chuck.

There's lots of great Windo out there, and Tes Esat is certainly one fine, fine example. I don't know if one can say it's "canonically" an important date or anything, but it sure is a fun listen. There's a lot of speculation about the date of recording - the disc says what, '70, and the LP has no date on it. I believe Gary's widow had placed it in '73, around the same time as his work with Ray Russell.

Well, I've been on a tighter budget this year, so even at those prices, I've got to be picky.

Steve Ellington's drums are washy elsewhere, too. It may be something in how he set up his cymbals that Wolff or RVG couldn't find a way around at the time.

I have a more recent Mujician on Cuneiform that's decent. I think his playing is more than good, but for whatever reason I haven't been compelled to go further.

Brute Force was a Ted Daniel band with Tim Ingles, bass; Richard Daniel, Fender Rhodes; Sonny Sharrock, guitar and others. They had one album on Embryo and another archival release will be issued soon on Porter Records. Ted Daniel interview at AAJ TD: ...In that time, though, I formed a band with my brother called Brute Force. Sonny had been working with Herbie Mann for a while, and they came out to play a concert at the college. He heard our band and wanted to record us, and he ended up recording us [for his label, Embryo]. That was all in that year, '68-'69. AAJ: Wasn't that record actually made in Ohio? TD: No, it was recorded in New York. The photo on the cover was taken out there, but it was recorded here. I got back to New York in '69 and didn't leave until '89. And so that's why I hadn't recorded before '69, because I wasn't here. AAJ: That makes perfect sense. It probably also allowed you—well, maybe not in Vietnam, but at least in Ohio—some time to get your chops together. TD: That's exactly what Ohio was for me, because I didn't have any chops. I was in the band in the service, but that wasn't what I was doing—mostly guard duty and stuff like that. Anyway, I didn't have the chops that I thought I needed, so I went out there and worked on them and played in that band. It was about a year before I came back to the City. The first big gig when I came back was with Sunny Murray. I did work with him some before in the Lower East Side and the Village, and he got us this gig at Newport Jazz Festival. In '69 I went up to Newport with Sunny, Alan Silva, Dave Burrell, Luqman Lateef on tenor, Carlos Ward on alto, and Sirone also on bass. Lateef, I don't see him around anymore, but he was a mellow tenor player and played really nice. AAJ: It seems like there's an esthetic disparity between Brute Force and working in Sunny's ensemble, between the avant-garde or free thing, and something decidedly funkier—or, well, I don't really know what the words are to describe Brute Force. TD: See, nobody was able to describe it—maybe that's why it never took off! It's not a disparity—I don't see it as one, anyway, it was just something else that I could do. I preface that with the fact that I grew up hearing doo-wop and so that wasn't that big a leap from where we were. That group did play for dances out there; that's what it was for, I could do that and was an integral part of that group at the time. I'd loosened up Brute Force by my free jazz experience, because I had New York roots and I integrated that into what we were doing. But the main thrust of what I wanted to do was in New York with people like Sunny Murray and Archie Shepp, so that was where I came to.

Children of the Sun - Ofamfa - (Universal Justice) Lot going on here... wish more "poetry/free music" collaborations turned out this well.

Welcome to the board.

I like New World. It's fun.

I haven't heard Moshi in a while but like it. Same with Brute Force and with the Leary rec.

Listened to sound samples and it appears to be solid. That video clip on the above WFMU blog is ridiculous. If you think Braxton's "joking," in both positive and negative fashion, this might be all you'd need in your pocket.