clifford_thornton

I can respect the work's cultural position without "liking" work. Now, get me some Henry Miller pronto.

I plead ignorance. I never knew what a "deep groove" pressing was, and was afraid to ask. What's the deal? It's a circular groove within the area of the label on some records. It is an impression made upon stamping the LP, but I'm not sure what its particular use was - perhaps to ensure the disc would be easily removed from the stamper? Anyway, I've seen re-presses of records that include the DG, whereas originals did not, so it's a toss-up w/r/t "originality." Blue Note reused west 63rd stampers well after they were bought by Liberty, so it's pretty hard to date some BNs.

"When played wet"? How can you play a wet record? MG Some people swear by it. Use a brush to cover both sides with non-ionized water and play it through. Supposedly it eliminates a lot of noise and decontaminates the surface as well.

Isn't it chewed in by little baby deep-grooving bunnies?

For once that's not the ONLY thing I'm concerned with here... As for my cup of tea, it's usually a bit more like coffee. Miles would have lumped me in with the critics who drink too much of it...

Joe Harriott - Swings High - (Cadillac reissue) w/ Pat Smythe, Coleridge Goode, Phil Seamen and the trumpeter Stu Hamer.

This is on ECM, right? Ratliff gave it a positive review in Sunday's NYT. Admittedly, recent Bley ECM's have left me cold.

Yawn.

I went to see her with the California Guitar Trio, with my parents, earlier this year. Not my cup of tea, though I can understand why a lot of people might enjoy...

Here's my opinion: Night of the Purple Moon Review on Bagatellen

Ah, that's an old joke!

Then: Teddy Charles - Tentet - (Atlantic orig black label) Now: Lee Konitz - Motion - (Verve, MGM but no deep groove)

Clementine? And his anthologizing is excellent! This is a great read so far, and having just done a breeze through of NY (first in several years), it really resonated. Unfortunately I wasn't able to meet up with any of our board members while there, but at least got to see the circus that the Bowery has become, even since 2003 when I was last there... Yeah, all those new buildings. Did you stop at DMG? DMG was solid - the CD selection is pretty astounding, at least for free music and avant-garde stuff. Apparently they are going to move and become an "appointment only" joint.

Clementine? And his anthologizing is excellent! This is a great read so far, and having just done a breeze through of NY (first in several years), it really resonated. Unfortunately I wasn't able to meet up with any of our board members while there, but at least got to see the circus that the Bowery has become, even since 2003 when I was last there...

Frank Lowe - Black Beings - (ESP orig) w/ Joseph Jarman, Rashied Sinan, Wm. Parker and The Wizard.

As I mentioned above, I really like this place. Their used jazz selection typically contains no gems, but they have some interesting new jazz vinyl. They have a great selection of rock (classic, alternative, punk, etc.) vinyl, including a nice 45 selection (new stuff mostly). Last time I was there I picked up a couple great funk compilations on CD. Very eclectic place and a great place to visit so long as your tastes extend beyond jazz. Yeah, rarely does good shit get past the new arrivals racks. Long ago I picked up a few West 63rd BNs for under $20 apiece, though I suspect their pricing scheme is a bit different now.

LMTFAO!

I don't know how it would've manifested itself, but I think Trane probably would have commercialized his music more greatly in some way. If I'm not mistaken, before he died he expressed regret at losing his audience. Of course, there's contradiction there because he also recorded some seriously out shit not long before his death. Still, I have to wonder... Here's my perspective. The idea of mass appeal, at this point, is fairly hard to stomach - other than obvious pop crap (= pap), music has become a highly nichified thing. "Real" jazz, as well as "real" rock and roll and other types of music, has a small, steady and cultured audience. It may not grow, but it shows no signs of disappearing entirely. The problem with a niche is that there are still a fairly large number of artists competing for a few gigs and a few record sales. But I think Wynton's pretty much entirely out of that picture.

Not a fan of Kloss's other Prestige records, but that one could be pretty good...

It's not at all surprising that Wynton is a millionaire. Maybe I run in a small, small piece of the music public - but I don't think Wynton is viewed anymore as "saving" jazz; rather, he's a commercial musical institution like the Stones and gets paid for it.

Just hop a freight into Lawrence and hit Love Garden, in between 8th and 9th on Massachussetts Avenue.

Wow, I thought Wino just dropped a speedball... jeez, what was she thinking? Suicide?

Have it, haven't spun it yet.

I know, but the sentiment was based on how much they "elevated" a session by their presence. Hard to judge...