clifford_thornton

"For a great blowjob visit..............." ...............Lydia Lunch Is this based on first hand knowledge? A reference to the film "Submit to Me," written by Lydia Lunch and directed by Richard Kern. It's pretty heavy art-mindfuck shit.

They do online ordering, or do I just send you a check?

Again, I would say that that cuts across racial lines, but I could be wrong. I am not a student of sociological research, or at least haven't done any w/r/t this music.

In all seriousness, though, the fact that racial divides exist within every subgroup is a given. Yeah, I'd rather it not be so, and to a degree some of these divides have been bridged. Music happens both in spite of and because of this divide. So jazz/creative music/improvisation is not wholly embraced by African-Americans, and I suspect it's for the same reason it's not wholly embraced by most of society. In other words, it is uncommercial. Again, a given, and we go from there...

Both, to answer the initial question. A beautiful woman is a beautiful woman - objectively and subjectively speaking.

Thanks.

"For a great blowjob visit..............." ...............Lydia Lunch

Can't go there with you... If you were to say "basically, the Jazz Messengers suck, except for a few of the early ones with Wayne Shorter, and maybe Buttercorn Lady," I might be able to follow you.

A classic!

Is this OOP?

What was your name over there? cherryco... Don't recall posting all that much over there, though. For some reason, organissimo inspires me more (or my time is less valuable)...

I like the Harry Miller, but haven't spun it a ton since getting it. Tippett is on fire on that one, regardless. Yeah, EP1 nailed it w/r/t Collier, as he often does!

Who carries Bleu Regard in the States? Cadence?

You will learn that chewy is bizarre and off-the-cuff. Don't take it personally. You may, in fact, learn to love him as though he were your own brother, as I have!

The racial divide... Hmm. Never thought about that!

Yeah, but Bill Hardman's ECM session is a killer...

For the two BOB studio LPs that I have - both on RCA - I can agree with you that the lushness of certain pieces is a value that one rarely hears on the live recordings. For my money (and personal taste), it's the ragged energy, fire and swing of the band that is most important, and that's why I dig those Cuneiforms. I'm a simple man, with simple tastes!

Very true. The Fontana, first Impulse and first ESP are almost uncharacteristic in some ways.

I was on the BNBB under a different name, then briefly AAJ. I can't remember how I found this one - maybe Brandon Burke? Anyway, it's the only one I pay attention to!

The CD contains extra material, I believe. That LP was originally issued as a single on the Vinyl label, as Live Big Band and Quartet. I've never owned this one.

Hans Dulfer - El Saxofon - (Catfish) w/ Wright, Few, Ali and a host of others...

I'm hit-or-miss w/r/t Collier, but for sure, the first several dates are particularly strong. I am very fond of the Fontanas, and will probably get this disc. Cuneiform is a rather admirable label, even if I don't always like what they choose to put out. The Brotherhood of Breath material they've issued is WAY stronger than any of that band's commercial LPs, or even the Oguns.

I tend, myself, to get pretty tired of the 60s-rehash thing, which has been de rigeur in some circles since, well, the '70s... and continues to this day. It's tough, though: as much as free-music or whatever is looked at as a necessity (rather than one option of many), it can easily become self-indulgent. As freedom is just one thing to pull from the bag, it seems to be much more viable - looking at people like Steve Lacy, the ICP, Mingus, it seems like that diversity is a crucial way of moving "forward." But then, those references are age-old... Sure, I don't think it's the same thing - Peter Brotzmann isn't even playing at all what he played 35 years ago - the reference is there, the "nod," the idea that he (and we) are part of this continuum of creative music. I don't want new beyond what's new to me; nor do I want old. I want now, however it comes to me. It just so happens that now is an Eternal Now, and can be actualized in music made at this moment, yesterday, 1995, 1982, 1970, 1949, or whenever. I'll quote Bill Dixon (from the liner notes to the '62 quartet w/ Shepp): "We do live in the present and tomorrow or for that matter, five minutes from now IS the future. And, for better or worse, the musical statements in this album do echo feelings that definitely did not start WITH the group and most certainly will not end with it." As for my uncle, I think he found Leo to be a great teacher. He was nurtured and enjoyed being part of the CMIF groups, and was encouraged to lead his own band from that well of musicians. Unfortunately, he didn't continue with it much past the early '80s (choosing instead to mine other artistic avenues). But Leo, Pavone, Naughton, Yohuru Ralph Williams and George Alford were all pretty important to his development at the time. He also participated in some Braxton and AEC workshops, I think, fwiw.

Don't think so. The Marmalade, from '69, is the same as the Polydor, with Wheeler, Watts, Bailey, Dyani, Stevens, Lemer(s), Maggie Nicols and a couple of other vocalists. I wasn't aware the Konnex CD had Lemer (don't have it).