clifford_thornton

I have the second of the two LP's on BN, Multidirection, which is pretty solid. I'm told that the first one is better. My experience of Cox's music is that it is "of its time," reminiscent of the classic 60s Miles unit, but holds up very, very well.

A hair over $3,000. Ridiculous!

Right, some blues but not the kind that's blue...

I'll bet. But it's "Monterose" rather than "Montrose." Crucial distinction there - and sorry to nitpick!

That Columbia is amazing! Easily a favorite "free jazz" record. I had a few copies before getting one that was pristine. There is a lot of silence in the recording, so it's good to get a clean one. Doubtful Legacy gives a shit, but maybe if Water got their act together...

I don't know about that. "It's a classic. Get it." There you go - five words, not even 450. 450 words is too few - that's my problem.

Public domain!

I read and reread this thread and come away feeling like a post or two of mine has been deleted. Maybe it's because I find myself with quite a few things to say - both in response to the original question and to some of the subsequent posts - but a bit of trouble putting them into words. I just don't know where to start. It's sort of like trying to review the New York Art Quartet ESP reissue in 450 words, or any other "classic" side for that matter.

DM is a "soulful black cat," indeed. Digression (sort of): Norah Jones is awful, and I would have preferred a Kenny Wolleson solo disc on BN. Or fucking Bill "Righty" Frisell.

In line at the post office in Austin, I ran into the Bear Family dude with stacks and stacks of LP and CD mailers. It was kind of a funny/strange interaction, as I was the only person in line who was drooling at the properly-shaped mailers.

That is too fucking funny... [my boldface]

Welcome to Web 2.0, dude.

If I have time to listen, I will (previewing review titles now). There's such a fantastic legacy of music there. Probably the most memorable jazz gig I saw was the trio in Berlin not long after Kowald's passing. It was unreal. Cecil and Oxley played a duo the same night. They have many great records, but I think the track/suite on For Example (FMP compilation) is of particular note.

Best damn thing on that label. Talk about overdue for a reissue!

Yes, that record was originally released on HiFi Jazz and reissued by Contemporary. It's a doozy.

Well, you don't know Aric and you don't know me, and you certainly don't know anyone else on this board (or that one). Obviously you're not as with it as I was initially going to give you credit for.

Yes, jazz and improvisation has certainly opened my ears to where I appreciate other genres more (or in a different way, let's say) than before.

No, Aric/chewy is not a typical dude, but that's why he's great! Frequent board users aren't going to represent the "middle-of-the-road" in society, rather the outliers. Thank god for that. I can't speak on the maleness of message-board phenomena; it's true, and I'm not sure why. One idea: I don't think men may need as much face-to-face interaction as women do in order to form/maintain social bonds. Beyond that, it's a sociologist's guess.

Yes, but since Organissimo aren't doing the very same thing, it did not have an effect on the board content or the survival of the board community.

I figured you'd enjoy it, HG. If they ever produce Seconds From Near Disaster, this will be the pilot episode, no pun intended. Yeah, that was a pretty amazing save. I would NOT want to have been in that plane, even though it all turned out fine. And Dan, I have taken to watching reruns of that show, fear-of-flying be damned!

I really got into jazz around 19 or 20. I'm 31 now. My dad was a jazz pianist; I didn't care much for the "cocktail" piano mood-music he was often into, so found my own path starting with Coltrane. Prior to diving headlong into jazz and improvised music, I was into prog-rock and post-punk. I was looking for something more challenging both emotionally and aesthetically. There you go.

I've mentioned this elsewhere, but I've really had it with genres. I used to keep my collection organized by genre, but I've dropped all such distinctions and let everything co-mingle. So, in answer to your last question, I don't think I would have a problem with a reunited Zeppelin recording for Blue Note... There's a record store here in town that refuses to seperate the CDs by genre. So you have to go from A-Z of every conceivable kind of music to "browse." There's a reason there are genres, because it's a practical application. Play me a record, and I could tell you a genre it belongs in. I don't care what people want to pretend. There ain't nuthin' new under the sun. No matter how genre-bending an album might be it still fits somwhere. Music is music at it's heart.... But Paleaaase, when I want to find something, give me a reference point. Blue Note is one of the greatest and only pure jazz labels in history. EMI is so big they could put any artist on any imprint...why does it matter to them. I think it just damages the brand, to put it in marketing terms which is, like it or not, what we're REALLY talking about here. It's not music to these people, it's product. Just curious - do they file classical CDs mixed in with everything else by composer, by performer, or ? It sounds like browsing there could be fun, assuming that I had a lot of time to spend. He's talking about Waterloo, and they do separate classical, blues and "ethnic" music. Jazz, rock, and pop CDs are all mixed together though. Oddly, I guess, the vinyl IS separated entirely by genre, though there's not much to begin with.

Diggin' the WDR/NDR TV style psychedelic backgrounds...

Yes, since replying to the thread some time ago, I've picked up SART, Afric Pepperbird and Triptykon. Big up's for Garbarek's earlier recordings, at least.