clifford_thornton

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.

Nice, as great as ECM cd's sound the good vinyl editions have this feel to them, in that you feel the music more than your just listening to it. It really hit me again this weekend listening to: My local HPB got in a group of ECMs in pristine condition, so I've bought a few. To Be Continued sounds amazing. As does the solo Steve Kuhn, Ecstasy. Still need the Bitter Funeral Beer Band. Did they have that one?

Right, still looking for a nice vinyl copy of Jazz Meets India.

Mine says Involution on the spine. Talk about a typo..

That's what I was going to say. I've seen a few of those Impulse! records in that edition. White spine, though.

He got into playing "out" in the '60s. In addition to Dear Professor Leary, there's Moshi (Saravah), Auto-Jazz (MPS), and Le Nouveau Jazz (Moloudji). You may dig Moshi in addition to the one that started this thread.

Record club copy?

End of an Ear has True Blue and Cape Verdean Blues at $49.99 a pop. They're really the only record store I go to in town.

Now that the MM sets have hit the stores in Austin, I've got a chance to look at copies. I'm not too impressed by the graphics or the gatefold spines, and the stock seems kinda cheap. Haven't heard any of the titles yet in this configuration, but I'll be saving my pennies and keeping my King pressing of True Blue.

Favorite record label names? Bla-Bla, on par with Skin Graft, Snipe and Cramps. Edit: not to forget "Of The Cosmos"...

Yes, Musa Kalim is a hell of a lot easier to remember...

Nice start. Should note "ESP M/S 1004" for the NY Art Quartet 1964 recording. There is also another NY Art Quartet recording on DIW on which Baraka reads, "35th Reunion." I don't have it so can't confirm the catalog number.

Sangrey's spot on. Cool little record; I have also heard some nice rehearsals with an expanded lineup from around the same time. Still, my favorite "later" Wilen is Le Nouveau Jazz with Francois Tusques.

Haven't listened to Dimensions and Extensions in a very, very long time. I always liked it but yes, Byrd is a surprising choice.

Well, Oxley's more abstract playing still has meter and motion, but I think of it as a sequence of events strung together in a rhythmic fashion. Time as relationships, in effect.

Funny, his playing on "Star Bright" never caught my attention. I think I first noticed him on Comin' On as well. The sessions with the Three Sounds are also par excellence.