clifford_thornton

I've never listened to the record that started this thread! Love Brotz with Waits, Moholo (tho no duo "exists"), Bennink, Perkins... not so much with Drake. Zerang is fine, especially on Tales out of Time. Mazen Kerbaj - right, forgot about him. You're probably correct.

I should do some more thinking. I know what Jim's getting at, but I feel like I know what I'm getting at, too. Apologies for the dismissal - it was not intended as such, though reading back over my post, it does sound that way.

Ditto.

The Marzette Watts, oddly enough... Last "clean" one went for $500, and a water-damaged one hit almost $300!

YES!!! I love that shit! "I suggest to you that it takes five seconds, just fiiiive seconds, to put a morphine suppository alll the waaay insiiiide..."

Looks like a good duo. I should pick up that BRO-B issue of '77 Brotz/Bennink, too. Hot off the presses!

I have a couple of very early Japanese Fontanas that look to be from the late '60s. They aren't pressed that well, which I hear is often the case for early Japanese pressings.

Yeah, I got a dark label of it for about $20. It is excellent!

I NEVER said that I didn't agree with THAT sentiment. I was just pointing out that one doesn't "have" to own a ton of such architects of the music to "get" the basis and move from there. Hell, I LOVE Monk but find myself listening to far more Lacy. That's not to say I don't grasp the inherent Monkiness in his work and the importance of what Monk's music offered to musicians from all walks of the jazz planet.

Yeah, I'm 30 in a month so you know how I came up, Clem. Cut my teeth on SY, Mudhoney, Dino, Sebadoh, (please don't say the N-word), Slint, Bitch Magnet, etc before expanding horizons later... YLT was never in the picture much for me, the influences being too obvious. The Dino sides on SST/Homestead I was always quite into, though the later stuff never did it for me (even tho that was coming out at the time I was getting into it). Supposedly J is in some sort of improv thing now, which I have yet to hear. Likewise, I wonder what woulda happened if Storm&Stress were actually decent improvisers? Could give a fuck about the Replacements; Huskers I'm okay with (they've had their moments - "Eight Miles High," for example) and I do remember having the first couple of Jayhawks records and thinking them reasonably good - if no Uncle Tupelo. Soul Asylum? Yuck! C

especially on the pressing!

Damn, those are some good deals. I was pleased with some cheap scores back then, too, though nothing as serious as those. EBay is pretty much over for that kind of thing, and the grading of many sellers has certainly gone downhill. Atomic is pretty good, though, as are Academy, JRR and JRC. Mostly I buy from Japanese dealers off-eBay, and rarely any original BN or other early hardbop titles (content with reissues or CDs for a lot of that stuff). I buy almost exclusively free jazz and improvised music, as many of you know, so some of my seller suggestions would be moot.

"Kramer" will now just be the name of the dude in Bongwater.

These things happen to me all the time. I'm especially bugged by trying to remember "quotes" in people's solos... I don't think it's essential for anyone to own a solid collection of Bird, Duke or Louis and still be a jazz fan. I own only a few Bird records, one Duke and no Louis, and as the latter (especially) is not a regular point of reference for my own thinking, I don't feel the loss. Call me hubristic.

I would've enjoyed that gig in '91, and probably still would... Yeah, sure the Spacemen are far and away more interesting, but I could find a reason to jam Loveless again.

Lasha's comment, from my interview with him at AAJ: AAJ: How did the front line come together for Illumination? It was such an interesting group of horn players. PL: I asked Trane if I could use his rhythm section and he said he would have to think about it, so he thought about it for a week or so, and Elvin was going to do an album, so I thought I’d go over there on that side. I had gotten that date and took Simmons with me.... Excellent record, and glad that it's up for discussion.

Yeah, I don't know who that kid was. Tyner sounded great, Harrison was awesome, Alexander was surprisingly boring/off-mike and Gravatt took some of the dumbest drum solos I've heard in a while. Still enjoyable, though.

An assortment of Japanese pressings, including an original issue of Mal Waldron's Spanish Bitch, which is not here yet but I eagerly await!

eBay grading is usually dubious. I only buy from reputable off-eBay dealers or eBay sellers I've dealt with before. I mean, accidents happen, but more often with eBay. I did luck out on a few pricey items recently that were actually clean, but with big-ticket pieces, I tend to buy from my "guys."

Dunno about Schwartz (haven't heard the date), but Koch is a great player.

I'd always been under the impression that it was slated for Savoy but unfinished. My bad if this is not the case. It's an amazing document; I find myself referring to it fairly often, as Dixon isn't the only point of reference. I'd say it's worth it, but it might be source-able from Amazon or someone for less than the $75 list.

Not quite!

I sort of see what you mean, but the Ornette comparison doesn't really fit with my impression of the LP, though it has been a while since I spun it. "The Mechanical Answering Service of Chris and Marta White" is a pretty cool little tune, especially considering the fact that it's based on the vocal cadences in an answering service message! The Curran is really nice, having a lot in common with a post-Ornette bag as well as reminding me a little of Sonny Simmons (tone-wise, not group-wise). Interestingly, the bassist is Japanese, though I haven't seen him on anything else: Kyoshi Tokunaga. Wonder what his story was? If you crack the Dixonia book, you'll see a lot of references to some of these Savoy characters, and lots of "could-have-been" Dixon-related sessions that went unreleased. Definitely a broader picture of the NYC '60s underground than you'd get from listening only to ESPs and Impulse! sides.

? I know it is now, but I recall the Manhattan CD being OOP for several years. Whatever.

Wait a minute. Are you saying that they used the same tracks on both albums or that they recorded different versions of two of the songs??? "Ole Negro" (Black Ark) = "Viva La Black" (Space Dimension) "Mount Fuji" (Black Ark) = "Oriental Mood" (Uhuru) I'll have to listen to the closing ballad on Black Ark again for comparison, but I believe you. The name escapes me at the moment... so that's three out of four tracks from the Freedom that duplicate tracks on the Americas. Interesting.