clifford_thornton

Not to derail this into another "type" of thread, but I think that playing very free music, in the sense of not constructing obvious parameters, still had positive sway in the post-BYG age. For example, though the (loft-era) Umezu surely swings and is based on a loose head-solos format, it still has the rambunctious, raw energy of something you might hear on a late '60s Af-Am free jazz record (ditto his more unruly side on Des-Chonboo). Then again, you have people like Clifford Thornton and Joe McPhee whose music from the late '60s/early '70s seems very clearly constructed - so the pendulum swings both ways, often concurrently. As for Echo, I enjoy it, though the tune "Peace" gets more spins from me.

Well, I have the original LP of it and it, too, sounds pretty much like doo. But despite that fact, it's still a great record!

Spent very little time with WBK records, though here and there what I've heard has been interesting. My interest in Breuker tends toward the small groups - such as with Leo Cuypers, Gunter Hampel (ca. late '60s), and his phenomenal work in a duo with Han Bennink. The Dutch musical theatre interest stems from not only fluxus (Mengelberg was loosely associated) but Dutch dada/neo-dada tendencies going back to at least de Stijl artists like Theo van Doersburg, who professed the ideal of a merger between art and life. Certainly something that hasn't been extensively talked about w/r/t Dutch jazz; I don't remember Whitehead's book getting into Dutch arts in general, though it has been years since I read it.

I've always dug Super Nova, so I guess it's weird that I don't have this. Should be cheap enough, though, so next time I see it...

So this was unissued as an LP, I assume...

Dang, not on the board for a coupla days and this is what I miss... Happy (belated) Birthday! I'll send you some cake; hope it makes it through customs all right!

I've always really liked that one. Much better than whipped cream.

Thanks for the clarification. I thought it was all from the vol. 1 session; didn't realize one was a Saturn outtake.

Don't forget that original LP copies of My Point of View featured "Gracham" Moncur III on trombone...

Though spinning a CD now, my last vinyl listen was: High Rise - High Rise 2 (Squealer reissue of the PSF original) Heavy!

No JOS No Horace Silver 1 Blakey (not a Messengers, though)

I missed the last COO gig - trombonist Brian Allen was the guest; he's quite good. There's some "quiet" improv stuff going on down here, which I'm not too into, though some hip gigs have happened with ICP, The Thing, Tony Malaby (w/ Allen and Tom Rainey) and a choice few others. I think Tristan Honsinger might be coming down to play solo sometime this winter - should be interesting! Haven't checked out John Martyn yet, though I've been admonished elsewhere for not having any of his records. Danny Thompson and all that Pentangle stuff I really get into (yep, track A1 on the self-titled 1st LP is what hooked me on their thing), though I sort of lose steam after about three or four records - same w/ ISB (different ilk), Fairport, etc. Abbey, chill.

Yes. The lengthy first piece I like a lot; the rest of it not quite as interesting.

I am pretty sure he passed away some time ago. In fact, I believe he died homeless.

Yeah, didn't Ecstatic Peace put out those books in silkscreened editions of 99? I think they came with a 7-inch or something...

Yeah, I have the America pressing and it sounds great. I assume this was the same case with Coursil's Black Suite?

Re: Wheeler: for whatever reason, I've never "gotten" him, though he does lend an interesting approach to some of these sides.

For me, Stevens' drumming here is like a sonically more "isolated" (read: less Africanized, to my ears) version of some of Milford's stuff from the period. Sure, there have been heavier SME and related sides (Prayer for Peace, on Transatlantic, is super-hip), but for a second commercially-released LP, this is a strong statement. Maybe even stronger than the Baptised Traveller (though that too is an excellent record, on-sleeve influences as they are).

May I say that I really like that record, too?

Wrote up my own little pissing contest as per E's request. Anybody care?

It cracks me up - maybe that's one reason why it's so expensive, the comedy factor!

I think you've taken this to a whole new level, man. Clem too, but jeez, it's definitely Bags-level shit. Where's Derek Taylor when you need him?