clifford_thornton

Don't get me wrong, I love 'Symphony for Improvisors' but always thought it was easy listening free jazz! Probably because I got so used to it when I heard repeatedly Don Cherry and the quintet with Gato Barbieri play this every night at the Chat Qui Pèche club in Paris.

Yeah, that's a good one, "clearly." That Urabe eludes me... a very rare PSF title!

KC needs a B-Ball team, if you ask me. Always wanted one there when I was a kid.

DIG THIS! Join the Creative Opportunity Orchestra as we present the 6th Annual NEW JAZZ Series, 3 days of great jazz music from the Creative Opportunity Orchestra, jazz legends Kidd Jordan and Alvin Fielder, New York pianist Bob Rodriguez, and more. The Orchestra will release their first new recording, Migration, in almost a decade! For more info visit www.creop.org. Event Listings - Thursday, June 14, 8 pm – The historic Victory Grill: Legendary jazz musicians Kidd Jordan (saxophone) and Alvin Fielder (drums) perform. Preceeded by a performance by Tina Marsh and Alex Coke. Food will be served in the cafe prior to the concert. ($15 General Admission; $12 Students, Seniors, Artists; $8 Children 12 and under) - Friday, June 15, 7:30pm – Laguna Gloria Amphitheatre: The Creative Opportunity Orchestra celebrates the release of their latest CD, Migration (their first official recording in almost a decade!), with a performance at the beautiful Laguna Gloria. ($15 General Admission; $12 Students, Seniors, Artists; $8 Children 12 and under) - Saturday, June 16, 4pm – Steinway Piano Gallery: Solo piano performance by innovative New York pianist Bob Rodriguez. (Pay What You Wish!) Addresses The Victory Grill: 1104 East 11th St. Steinway Piano Gallery: 12980 N. Highway 183 Laguna Gloria Amphitheatre: 3809 W. 35th St. FOR TICKET INFO & OTHER INQUIRIES: visit www.creop.org or call 512.448.3485 or email creop@texas.net

This is all very interesting. And I didn't even have to break out a joke about Kenny Wheeler and Norma Winstone!

For me, too - because at first I thought it was kinda boring and not "out" enough. With time and a clearer understanding of the period and what he was trying to do, I think it's a great session. "Mephistopheles" just kills, though...

If I have time, I will do a reference search at our library today.

This morning, before work: Marion Brown - In Sommerhausen - (Calig) w/ Steve McCall, Gunter Hampel, Ambrose Jackson, Jeanne Lee and Daniel "wildman" Laloux.

Yeah, those Burton sides are really nice. I should buy those back sometime... Coryell's also on the JCOA silver box, given room to spazz out hard-core!

Whoa...

Nice. I have Nommo, but not the first volume!

Just a slag on the Hat and a big ups for Force, the duo LP on Uniteledis from a bit earlier.

Yeah, you have one, right?

Wow, I didn't know it was THAT bad.

I dunno, that's one big-ass lost soul...

Maybe they got wise and decided to call up Uniteledis?

For there being "only a hundred" with the painted cover, I feel like it's been passed around eBay enough...

She's very cute, but...

I'm guessing that their argument, while somewhat hyperbolic in nature, is pretty much right. This has a lot to do with "developments" in straight ahead post-bop music in the Wynton and post-Wynton era. Guy Maybe but more to do with developments in the MINDs than in the actual MUSIC itself. Throughout the 80s and 90s contemporary jazz musicians never stopped turning to material by Prince, Radiohead or Nirvana for inspiration, seemingly in spite of Marsalis. It's just that this was no longer perceived as proper jazz. No one had any problem with Coltrane turning My Favourite Things into a jazz standard even though it came from a a dodgy Rogers and Hammerstein musical sang by famed jazz heavy weight Julie Andrews. So why does the establishment have a problem with Nirvana? At least they played their own instruments! I think that the only real difference is that the people who confer "jazz standard' status on music, stopped listening to contemporary music in 1980, the year of the "last jazz standard'. Meanwhile, the label non-obessed world kept listening, borrowing and copying from whatever source around them, just like Coltrane did decades earlier. Perhaps more jazz musicians would've played stuff like Karma Police, Kiss or Come as you are, had the establishment been as ready to give them "standard" status as My favourite things in 1961 Wow, I can't wait to get a four-disc box of jazz versions of Kiss songs. that's "Kiss" the prince hit , not the glam rockers!!!!!!!!!!! . I'm all for openess in music but I draw the line at men in make up. So I take it you don't listen to the Art Ensemble?

Especially when you consider artists, like Sam Rivers and Grachan Moncur III, who straddled both camps, recording for Blue Note as well as more "avant-garde" labels and playing in diverse contexts.

I hope people move on the Kenny Cox. That is some good shit.

Who the hell is Khalil Rahman?

AEC - Tutankhamen - (Freedom orig, French press)

Wow, this looks GREAT!!! Wonder if I can swing it... will be heavy time for me school-wise.

So that's where Harry's glasses went. Holy cow! Wearing a pair not dissimilar to those right now, myself!