clifford_thornton

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.

Actually, Trane often puts me to sleep - yes, even the late-period stuff. I find it all very soothing as powerful as it is.

Jarrett/Haden/Motian - Life Between the Exit Signs - (Vortex)

Mostly I don't care, but the first record on Vortex is pretty good. A few obvious Bley knock-offs, but what can you do?

He's got positive feedback from some heavy Japanese buyers.

I second that recommendation!

Mine didn't work either, and I'm in the US.

Yeah, I know. I teared up watching it. Whether that reaction is because of what happened since, or what a great cat he seems like from the film, who's to say...

Yeah, that's a great one. Thanks for the reminder! Here's a cool one just posted: I think it's from an ESP-Disk' promotional film or something.

Density 21.5 is the flute piece. Supposedly Eric Dolphy played it.

Don't know if you want to wait that long, but there will be a review on it running in September's issue of Paris Transatlantic (www.paristransatlantic.com). I'd also add that I did not get much out of the Verve reunion disc from a few years ago.

The circus is what turns me off right now. I think the doping thing is being blown way out of hand also, but the whole Landis fiasco was the death knell.

It's fantastic.

This is probably from the same stock that Academy raided earlier this year. Many sealed jazz titles from the 1970s and 1980s. Cool stuff.

Damn! Well, 94 and 95 seem well beyond the age for driving skills. I'll add that I'm not the best driver in the world, and should probably be taking the test more often.

Handscapes is a great record. It adds a lot of percussion to the mix, so the record isn't just a "piano" LP.

The vinyl is on BYG, right? I've always been curious about that one, though it's been pricey when I've seen it offered.

On paper, it looks cool, and of course the title is a classic. However, as with a lot of these special-interest sets, even if GG is a fairly popular BN artist, I can't see it being much of a unit-shifter, as it were. BN has ceased relevance in the states, even to a degree as a reissue label, so I wouldn't hold my breath. If someone else were to license the material, now, that is another story.

Alex von Schlippenbach looks like a European soap star these days.