clifford_thornton

Haven't heard Karma in years. Wasn't so into it then, but it was a) not the first Pharoah I'd bought and b) not "in context" of the music's release. Not that that matters to me, but it seems to often around here. If I saw a clean vinyl copy of it, though, I'd probably pick it up again...

You are killing me. I mean, really, stop...

Yeah, and that's a bitchin' record. I'm assuming that 4191 would be a NY USA with no deep groove, and that would be the first. Unless there's a Liberty-label Mono, but I doubt it.

Apropos of nothing, when I once mentioned to a friend I liked "classical" music, he was like "oh, like Led Zeppelin and stuff?", totally being serious on the confusion front...

And here I thought this was a thread about Kiwi indie-rock...

That was exactly the lyrical waxing I was hoping for!

Bowing out on the Vandermark thing for a moment (some good, a sizeable snoozy chunk), it's interesting to me that I can't think of any black jazz players in Austin currently. I don't go to a TON of gigs, but I have noticed it... granted, my transplant here was recently and for educational purposes, but... My folks live in Houston now and the few jazz concerts I've been to there that were LOCAL were also all white folk on the stand. Not that I really care much or at all, but I wonder if this is a common thing in Texas especially. Some who have lived here longer than I could probably wax lyrically on this thought.

Whatever happened to the thread starter?

Ehh... sometimes.

This is a great record.

Always liked this version better...

Yes, but sadly Dial B for Barbara isn't. As are several others...

I'm listening right now to this one on Nemu: And it sounds unbelievable...

You know, every time I hear some crack along those lines, it makes me rankle. As I started getting into jazz, for whatever reason the "free" thing was what attracted me the most. Maybe because I came from punk/garage/post-punk music to this music, but... anyway, my dad was a jazz pianist. He and his guitarist were sitting outside talking and my dad mentioned to this guy that I was "finally" getting into jazz, but that it was "free jazz." The guitarist smiled and said "is that where they play free instruments?" I guess that was my first inkling that, well, most of the jazz world doesn't appreciate it - 50+ years after the die was cast. The melodic/rhythmic ideas embraced collectively by "free" musicians is still what I cherish the most in this music. Don't ask me why - it just is, even considering that I've explored and enjoyed many other areas of jazz. The piece that Guy posted is interesting, but as with anything, there is much cross-pollination and, in some ways, the idea of setting up divisions goes against the freedom in creative music, the desire to draw from oneself as much as from other sources.

(The) Pink Floyd - Piper at the Gates of Dawn - (EMI UK reissue)

Ted Daniel used a pitch-divider (?) on recordings with Andrew Cyrille; there's an interesting duo on Junction (IPS), which also features David S. Ware and Lisle Ellis.