clifford_thornton

Wow. I'd have given you a lot more than that for an early edition, too!

February 24, 1964. Yes.

Nobody likes an "unbeatable" champion - that is, in the peloton - remember the boring days of Indurain? Lance is also not a winning personality, which added I'm sure to the frustration some of the French press and public may have had with him. Now that the field is open, it should be interesting, but it's been ruined by all the bullshit!

Perfect attitude for the matter at hand!

Amen! Awesome!!!

Yes, he is indeed a twat...

Despite the occasional Epistrophy Arts gig, Austin is pretty much a similar climate.

Need I remind people that performance-enhancing drugs have been used since before the days of Merckx? Hell, even among the first few Tours, riders were using nicotine and cocaine to boost power! And though the French have not had a winner in the race for some time, I wouldn't call the whole thing mere vindictiveness - the sport is crooked, but fixing it is going to be very hard indeed!

Not to sidetrack the discussion, but this caught my eye, since Kitty was the label for whom Monday Michiru did most of her Japanese work. Any idea who was behind that label & just exactly how...diverse their offerings might have been? It was/is a subsidiary of Polydor Japan, I believe. If the gamut runs from Monday to Milford, I'd say the catalog is diverse enough!

I'll keep an eye out - it was put out on CD by Polydor within the past couple of years. I've had the vinyl for some time, but the CD I've seen in stores recently.

Here's a great resource (but not for the faint of wallet): Improvised Music from Japan

Takayanagi on Paris Transatlantic Check out saxophonists Kaoru Abe, Mototeru Takagi, and more recently, Masayoshi Urabe. Takagi has an interesting looking solo record where he plays songs by Charles Tyler, among others - I'd like to hear that one. Sabu Toyozumi and Masahiko Togashi are two of the most prominent drummers in Japanese improvisational music; Togashi has played with Masahiko Sato, Steve Lacy, Charlie Haden and a number of others - though I still really get the most kick out of We Now Create, a quartet from '69 with Takayanagi, Takagi and bassist/cellist Motoharu Yoshizawa. Sabu is simply a motherfucker - the duos with Abe are untouchable... Kitty Records put out a couple of interesting international meetings of Japanese free players with both Milford Graves and Derek Bailey. These are in print on CD, and are both excellent records: Milford Graves - Meditation Among Us w/ Abe, Takagi, Toshinori Kondo (tp), Toshi Tsuchitori (perc) Derek Bailey - Duo and Trio Improvisation w/ Abe, Takagi, Yoshizawa, Kondo, Tsuchitori

That CD is a compilation of various tracks from the MADMurphy releases, including Cloudburst with Lyons and Johnson.

I looked up my usual sources for Japanese LPs and they don't have it... must be pretty rare, though I know I've seen it offered.

I ate my cookie. Chocolate chip. Mmm.

And yet nobody bought the sealed Unit Core of Indent?

Interestingly, later Trane and Ayler brought me in reverse back to some of that music. Several fantastic collections have been released in recent years. In writing the notes to the reissue of Patty Waters' ESPs, I compared her work to some of the vocal acrobatics/wide vibrato of some early 20th c. gospel singers.

Yeah, even though my dad was a jazz pianist (locally), I came to the music from "noisy" post-punk rock music, as that music had ceased to convey the complexity of emotions that I required. Now, I feel like a lot of different music does that (even weird rock), so it's moot. But in the 1990s...

Squidco-

The presence of Togashi, in addition to the great cover photo, are selling points indeed.

Yeah, the US pressing came with the Marmalade cover image. The UK and German Polydors had geometric cover art on front, and the original back sleeve image.

I've got only a cheap Polydor pressing of this Me too - with the square German cover art. But it was $2 and has served me well. Something about paying $60 for an otherwise $5 LP doesn't really get my juices flowing.

Ra is the only of those you mention that's really near as "out" in the sense that Trane was "out." I think Chuck would say this: "you had to be there." Not going to put words in his mouth (beyond that), but keep in mind that he was recording what would become the AEC in 1967 and working with the AACM guys around that time. So I wouldn't be surprised if late Trane was something he "got" right away. Hell, it didn't take me much work - Expression was the first Trane I sat down with, that and probably the Selflessness record, and I loved it immediately. It was only subsequently that the greater context became clear.

And Karl Berger and Joachim Kuhn also hum and grunt. I don't find it a problem...

I'm just saying... Life Between the Exit Signs owes debt in a few spots to Paul Bley. It's a solid LP, though. There's a whole lot more Jarrett I'm not really interested in dealing with.