clifford_thornton

Noah Howard - Space Dimension - (America) w/ Wright, Few, Ali and Art Taylor!

Case in point: nearly all of the America LP jackets (tho the Shorter and Emergency are pretty damn ruff).

AFAIK, the first gig was at the 2001 Vision Festival. Not sure what's happened for them since then, but I was at that one and it was pretty great. The only problem was that they did an encore - a shorter set would have given me all I needed. Any more and it got a little tired... I'm all for a blowout, but it would've also been nice to hear them play some "tunes."

Yeah, tell me about it. It's one of my favorite Marion sides, precisely because it's totally unhinged... Bennink is like a scrap-heap being thrown down the White House stairs! Considering that it's the same vintage as both New Acoustic Swing Duo and the Loevendie/Altena/Engels trio Stairs! (Artone [& Bennink got his bag more from Johnny Engels early on, then incorporated Milford]), the shit that MMH unleash is not surprising, and quite welcome. Strange that the CD issue pairs it with only half of the Creative Improvisation Ensemble LP. I especially like the original Porto Novo cover:

Marion Brown - Porto Novo - (Freedom/King, with the original jacket's photo) Maarten Altena, Han Bennink in 1967...

I saw that band several years ago. Serious business.

I see this from the Firehouse 12 Website: Wednesdays: Pabst Blue Ribbon bottles $1.50 Not exactly highway robbery, mind you!

Schlippenbach Trio - Pakistani Pomade - (FMP) I especially like how the opening track, "Sun-Luck-Night-Rain," is printed on the label as "Sun-Luck-Night-Train." Bottoms up...

Corsano's also playing with Ben Chasny. The Roaratorio LP is good; the Drag City stuff, well, not so good...

Tampa Red - 1935-1942 - (Old Tramp) Excellent collection!

Young's Oatmeal Stout. Decent.

's a good'un...

Yeah, he's about as hip as they come...

PL: "Prior to that departure, Miles Davis was appearing at the Jazz Workshop in San Francisco, and they had a concert in Oakland for the police ball. He had John Coltrane with him, and there was a reviewer named Russell Wilson who gave John bad write-ups all over San Francisco. They were doing this concert and I arrived early, and John’s horn wasn’t working. Simmons and I were backstage, and I said “give me the horn, man.” I worked on it for about twelve or fourteen minutes and I fixed the leaks and all that. Coltrane said “I just got it from the music store down on 47th before I got here.” There was something they didn’t do to it, and I fixed all the discrepancies on the horn, gave it back to him, and John went out and played so much beautiful music while this little ugly motherfucker with brown suede shoes was looking at me [Miles]. I was looking at him because I’m pretty too, and he was happy that John was playing so much. He was wondering who I was! John and I became lifelong friends after that." From the interview I did with him at AAJ (I knew there was bound to be something in there...).

If it doesn't pick the dirt up off the carpet well enough to satisfy your fastidious taste, perhaps you need more static electricity. There are cloths that will do that for you. I think velvet is supposed to be good. MG For some reason, I suspected my early/mid- '90s art-punk references would fall flat...

I see what you're saying, EP. I haven't heard that Taylor rec in YEARS, probably sold it with a bunch of other Hat LPs about five years ago. Wish I'd kept more of them! I am a "big fan" of Jerome Cooper, but was never sure he worked with Cecil that well. But again, it's been a while.

I have that material; remember it being pretty strong. Ronnie Ross is on it also. I believe it is he playing bass clarinet. Atilla Zoller is on guitar for several tracks.

There ain't a lotta Milford in Schlingerland... S-A has taken the pulsing sound-fields of Murray, and applied it more directly to the bass-drum and the toms, in my estimation. Therefore, he gets a more particular density (or expansion/contraction of such) than the (in some ways) lighter approach of Murray. It's pretty neat.

For a second, I misread "John Butler Trio" as "John Butcher Trio..."

Crown Hate Ruin - Until the Eagle Grins (Dischord) Not as good as the singles, but still decent. Ain't no Hoover for that matter, either.

Thanks, Allen, for that insightful post. Being aware of outside traditions and choosing to use or not use them, as an improviser, is a bone of contention that I can't fairly get involved with. Bet Sangrey also has some good ideas along this point. Those same arguments were levied against Brotzmann (in contrast to someone like, say, Gerd Dudek) back in the day. Obviously, Brotzmann has a shit-ton of respect for, and interest in, the tradition of improvising on the saxophone. For Adolphe Sax, indeed. I'm not sure whether or not Flaherty does, or Assif for that matter (quoting Sunny Murray - "that Israeli or whatever guy, whatsisname?"), or Arthur Doyle who is another matter altogether.

Graves is the shit. I hear a lot of Graves' work in early Bennink and even some Tony Oxley (esp. on side two of How Many Clouds), not to mention Masahiko Togashi. Graves' work really seemed to start getting into some other extra-musical plane of operation around Nommo, but who am I to say it wasn't there earlier? I dig the Kitty LP quite a bit too, especially the voice-and-piano bit on side two (think the tune is titled "Response"). Not a huge Zorn fan, obviously, but I think the duo with Graves is pretty fuckin' deep.

From Yahoo! News... HARTFORD, Conn. - Sol LeWitt, an artist known for his dynamic wall paintings and as a founder of minimal and conceptual art styles, died Sunday in New York, according to published reports. The 78-year-old artist, who was born in Hartford and lived for the last two decades in Chester, Conn., died from complications from cancer, The New York Times and The Hartford Courant reported Monday. Much of his art was based on variations of spheres, triangles and other basic geometric shapes. His sculptures commonly were based on cubes using precise, measured formats and carefully developed variations. LeWitt preferred to let his work speak for itself and frequently avoided media attention. "He never felt that art has to do with the personality of the person who made it," Andrea Miller-Keller, a former Hartford curator and longtime friend, told The Courant. "It's not about the star power but about the art." By the mid-1960s, LeWitt had begun to experiment with wall drawings. The idea was considered radical, in part because he knew they would eventually be painted over and destroyed. LeWitt believed that the idea of his work superseded the art itself, Miller-Keller said. "The essence of LeWitt's work is the original idea as formulated in the artist's mind." LeWitt's first wall drawing, part of a 1968 display in New York, was so striking that the gallery owner couldn't bear to paint over it. She insisted the LeWitt come and do it himself, which he did without hesitation. LeWitt completed a traditional art program at Syracuse University in 1949, telling a reporter years later that he studied art because he "didn't know what else to do." LeWitt, born in Hartford, was in the U.S. Army for two years during the Korean War, serving in non-combat positions in California, Japan and Korea. In 1953 he moved to New York and held a variety of short-term jobs, including working as a night receptionist at the Museum of Modern Art. His first solo art show was at the John Daniels Gallery in New York in 1965 and he taught at several New York art schools. He lived for much of the 1980s in Spoleto, Italy, before returning to Connecticut in the late 1980s. He is survived by a wife, Carol, and two daughters.

Dude - John Carpenter's The Thing??

You mean I've been wrong in playing them Barre Phillips records?