clifford_thornton

Oh god. I have about 6,500 LPs and 3,000-3,500 CDs (I think), so let's say around 10,000 physical pieces of media. I have 255 GB of audio files -- various things I've downloaded, some of which I used to own physically and much I never did. As for streaming, I don't use Spotify and never have. I download things from Apple Music and Bandcamp; the former, mostly punk/indie/hxc I used to own and wanted to hear again... YouTube I used to use a fair amount at my old office, mostly for the purpose of checking things out I might want to get physically or digitally. Or if I felt like listening to something I own at home on CD/LP (for example, if I was in a Shepp mood while working on checking metadata).

+1

I mean, errors happen. It would be great if they didn't, but they do. I have found three in my own book (or 2 and a half) and I'm sure there are others that have escaped notice. But making broad assertions off of something that is at its foundation is erroneous is another matter. And no, I haven't read the Chambers book but I'm very Twardzik-curious so it's on my list (even if it's got a fair amount of looseness).

yeah, that tracks - the ~100 painted and 2-300 gold is the number that seems to make the most sense.

Yeah, common situations where the rights holders are like, "no, we aren't going to reissue it and nobody else can, either." I suppose the argument is it costs them more to lift a finger than it does to just sit on it, unless it's a surefire seller.

Yeah, albums like those are what streaming is for. I don't need to own 'em but they're good records and foundational for so much that came after (some of which I like, most of which is... not for me). no Band, no Jayhawks (just one of a million examples).

That is true about Big Pink. I have taken a gander at it and took a few photos some years back -- was a rainy, dreary day, so kinda perfect. The Levon Helm Studios concerts are very expensive, so that keeps me out.

Unfortunate news indeed. Now that I live Upstate and near Woodstock/212, that group is pretty unavoidable and so much a part of the cultural fabric. I actually didn't keep any Band records but should revisit them. Really beautiful songs that transcend ubiquity.

Was just looking at that Chambers book on DT online... still might check it out, and keep a healthy jar of salt nearby.

Yes. You can't expect to hull down for years, make great art, and yet somehow avoid playing that publicity game in order to be recognized.

Aha! Yeah, this show is a peek inside the composer's mind. Great programming, sir.

right, well, Moncur and Shepp could also walk the line between straight-ahead and free; Silva didn't really do that (although some of his post-Seasons orchestral works had modal and swing sections), and Wright didn't until the 1980s. Thornton, like Wright, had bands that were inside/outside though he was in no way an "inside" player. But it's not entirely about what's being played, either -- it's something else, and we see that today just as much as people did 50 years ago. I suppose one could attach it to press as well -- Milford and Shepp were in the magazines and contributing articles back in the '60s. Milford had an awareness of the avenues in which his ideas and craft could be presented, and not every artist has that approach boiled down.

I dunno. It did get really bad at about 13 minutes in.

Yeah, things were different back then. I think he was able to get them fixed eventually. Silva's story is pretty interesting, too, don't get me wrong -- his mother was a real heavy in Brooklyn Civil Rights; he was (and still is) an abstract painter; studied trumpet with Donald Byrd before switching to the bass; cofounded the Free Form Improvisation Ensemble with Burton Greene, Jon Winter, et al.; worked steadily with Bill Dixon, Cecil Taylor, and Albert Ayler; decamped to France and founded a music school called the Institute of Art, Culture & Perception, along with being at ground zero for the Actuel activities and running Center of the World with Frank Wright, Bobby Few, and Muhammad Ali... the cat is very, very accomplished. He was talking in the 90s about having "sound galleries" where recordings of improvised music and their hand-decorated jackets could be displayed and sold for collector prices... (I remember this from a great interview he did with the late Larry Nai for Cadence). But some people present more easily as a package and I don't think Silva is that guy.

They should have been paid at least. Oh, and Murph isn’t white.

Well, Milford also had two separate but related museum retrospectives (one in Philly, one in NY/LA) in the US during the last few years. Milford is also more of a story, via the Full Mantis documentary and other cultural appearances, to those outside the music and a recognizable name among hip cognoscenti. Obviously he is a great musician and a fascinating figure, but the cache is there too -- Silva, who I find just as fascinating for similar and different reasons, does not have the cache.

Lot of money for a record, but at the same time I thought it would go for a fair bit more.

and just a little bit more money, perhaps they could've painted your living and dining room as well!

I quite like his Prestige run (and of course the work with Mingus). He is or was fairly active and responsive on Instagram; not sure if that goes for other social media platforms as well. Haven't seen him in person but if the opportunity presents itself I'll remind myself to take it.

The BASTIDS are out of stock for the moment but should be getting more in shortly. I dig the writeup, which is now live (and wasn't up there the other day). https://www.dustygroove.com/item/149232/Clifford-Allen:Singularity-Codex-Matthew-Shipp-On-Rogue-Art?sf=singularity+codex&incl_oos=1&incl_cs=1&kwfilter=singularity+codex&sort_order=artist

is the breaking a vase a reference to "Rip, Rig & Panic" ? will definitely check some of this out -- @ep1str0phy and I were just talking about you.

never saw him live. The records are fun but I don't really pull them off the shelves these days.

yeah, I prefer that mix too -- I had both versions and kept the Rough Trade. The best James Chance stuff I've heard is that live album on ROIR -- the presence of Bern Nix and Joseph Bowie doesn't hurt! The Lower East Side was quite an artistic melting pot back then.

Oh awesome, that's great news. A few days early, even! Hope you enjoy.

Yeah, although when I have submitted I will simply write "own copy" or "my own copy," etc.. This record definitely does not exist.