clifford_thornton

Thanks for the reminder on the Vmark - I think I'd rather have that deal!

The Fontana catalog is superb, both the Roling series and some of their other jazz releases. They've been good on Tubby Hayes so hopefully things like the Brown, NYAQ and Jazz Realities will be commercially available again (not to mention Ric Colbeck!)... also, the pressings were spotty on the originals, so a CD treatment might do them some good.

Meg White ain't THAT bad either!

Much more familiar with his work in the late '60s/early '70s, essentially pre-Colosseum. I like him with the pianists, and he's solid on the Jack Bruce Things We Like LP. Maybe he took a turn for the worse later.

Really? I thought he was great on a gig some months back with Tony Malaby and Brian Allen.

Yeah, it's absolutely disgusting... Hell, the Brown was on CD a few years ago in Japan!

There should be - I like his work from this period, for sure!

I have a Japanese Victor pressing of that one. It's an amazing record.

I like those records a lot. Too bad Le Temps Fou is so out of most people's league. I have a burn of it, but that's all...

It's a pity that stuff hasn't been reissued. It's really good!

I've always liked this Marzette Watts cover a lot, though the music shows its seams...

Yeah, Pleasure One is a good record but that cover really fucks with me (esp. in 12" format ) ....

Right, thanks. That's the album with the orange cover, I should have known. I'm quite fond of that session. My Toshiba vinyl has more of a red cover, though not "deep" red. I can't see it moving units quickly, but maybe I underestimate the jazz public...

Speaking of the brothers Bennink, I've never understood why Kees Hazevoet's Unlawful Noise (KGB, reissued by Atavistic) doesn't get more love. Both Benninks, Brotzmann and Haazz backed by Dyani and Moholo?!? I mean, it is a totally wild session, but it is musical!

Yep - I counted that among the reed arsenal, but you're right, it/they could use some specificity!

Upon seeing the exhibition of Mailer ephemera at the Harry Ransom Center (here in Austin - go if you can), I can see that he was both a pretty important figure on levels both literary and cultural in the '60s, and I obviously need to spend more time with his work. Doubtful we have any writers today that fall into a similar range of categories - though Clem might be the expert there.

Agreed and yes, I have... dude can swing branches in the air and it sounds f'in hip! His brother Peter is more of a "strict" reed-player and I enjoy his work as well.

Enjoyed it when I had it, but my copy wasn't in that great condition and since has left the building... I too remember Benson sounding quite nice on it.

I was thinking the same thing... meanwhile: Ronnie Scott & The Band - Live at Ronnie Scott's (CBS Realm mono orig) great session!

I assume you're talking about the Mike White album with Lasha on it? Never bought it, though I've been intrigued upon seeing it...

I would've got it - that would be hip!

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.