clifford_thornton

That's a winner of a song title!

I was referring more to the CDR boot phenom in general - Meditation Among Us was properly reissued. I have the LP - vastly different than the pummeling you get with Babi, of course. Milford plays piano!

That's a gorilla! Yeah, and the record's a monster!

I suppose the DMG owners don't have those...! Seriously, I doubt those are getting reissued any time soon (save the ESP). I still need Live at Yale Volume 1. Would be happy to burn Nommo, Babi and Dialogue of the Drums, though it takes me a while sometimes.

The futility of name-checking...

Seen but not heard... I suspect I know what it sounds like, though!

Well, Funny Rat can be the Euro-free thread and Hated Music can be the American-free thread!

You nearly beat me to it! My suggestion was gonna be Stanley and Wynton!

How's it sound? I thought this was Vortex, Douglas or some such...

Agreed!

I've gone through a lot of these records and frequently find myself preferring Randall Colbourne. That said, this is an excellent session and anyone into sax-drums duos should certainly give it a spin. As a duo, they've released what, four albums in the past year alone?

Point taken. You can also add Heartplants, Tusques' Free Jazz, Gunnar Lindquist's GL Unit, The Pierre Favre Quartett (Wergo), Schoof's Voices and anything else recorded 1966-1971, but whatever.

I'll look in the UT libraries, and I do have a scanner at work.

Log in to the site for the first time this weekend and this is what I find out? I can't add anything to what's already been posted, the thoughts/experiences of Mr. Kimbrough, but only that his music has brought me great joy and peace. Thank you Dewey and may you rest in peace.

Damn! RIP... I used to shop there when I lived in Lawrence, and that was in the '90s as their prices started climbing. But deals could still be found, and the jazz collection was really strong. I was sad to hear of the store's closing, too, and this is really unfortunate. I never got to know Ron, but saw him around and definitely caught his vibe.

It's good, especially the second side, which has shorter pieces that are more "compositional." Still nowhere near Phillips' bass quartet on Japo or the Peter Warren on Enja (which adds Altschul, Stu Martin, John Surman and Chick Corea on side 2). But then, those aren't duos! The solo Barre Phillips on Futura/Opus One (reissued from the private press on Music Man) is rad, too. Really rad.

I'm with you on that one, too. I like Black Fire a LOT, however.

Good record, and an interesting complement to the Holland duo with Barre Phillips, I think of the same year...

After finally having enough time to sit down and blast both sides of the fuckin' thing, I'd forgotten (it's been a few years) how incredibly awesome this record is. The first side is hip, for sure, and for me did get the most play in the past, but what was really getting under my skin was side two - especially "Responsible," which has a nice kwela groove (cf. "Fat Man Walks," on More Nipples) between Van Hove's piano and Bennink on bongos. There aren't too many examples in the early years of Brotzmann's groove; he hit his stride with the Miller/Moholo team in the late '70s, and then again with Parker and Drake (admit I prefer the former). Bennink also gets some chance to stretch his bebop swing on "Music for Han Bennink," and contributes some great playing in the first 1/3 of the tune. The recording is excellent for this type of music. It's extremely dense when it needs to be, but when they let up, the grit is actually very nuanced. You can hear the horsehairs and rosin up against the bass strings, for example. I think that between this, Nipples, European Echoes, and The Topography of the Lungs, you really have a great canvas of what was happening in West European jazz at the turn of the '70s, a crucial time for this music. It is its own, and it is of a piece.

Damn! This is really sad news - I am a big fan of Gong and really enjoyed the National Health records. Saw him with Gong on a reunion tour maybe six or seven years ago, and it was really nice. RIP and thanks for the wonderful music, Pip the Heap (PHP)!

Not to take the wind out of anybody's sails here, but I'm not too into this particular Hill. I have no idea why it's never jelled for me, because the players are all first-rate and there's nothing "wrong" with the music. I just get bored by it. Same with Andrew!!!.

Also (off the top of my head): Rahsaan, solo Shepp, Kenny Dorham. He's fairly outward leaning--appears on the more 'progressive' dates of a lot of more boppish musicians. Marzette Watts' ESP and Savoy sessions, also Tchicai's Afrodisiaca (though he's one of many drummers there). Moses is one of my favorite drummers, for sure - also one of Max's, as he dedicated a piece to him that appears on The Long March. I like that Storyville is using the cover art from the International Polydor edition of NYCF v. 1 (albeit differently tinted). Yeah, the previous reissue was pretty garish--a thick, dated font with a half-orgasmic Shepp photo on the cover. Of all the pictures... I used to not be too fond of J.C.'s playing, if only because I always measured him by those live NCYF sessions (where the balance is horrible--completely swallows the subtlety of the approach, sounding like a disoriented marching band). He's been tremendous on everything else, though--and extremely versatile (Powell to--thanks for bringing it back up--those Watts sessions). Yeah, the previous cover was lifted from the International issue of volume 2. For some reason, my mom really liked the cover when she saw it...

A lot of people don't like this one but personally I love it. The sound of this stereo issue is also outstanding - one of the best I have heard from the 'Liberty' period. Must be one of the last heavy vinyl Blue Notes. The cover, of course, is priceless ! I have no problems with my mono copy - other than the big MONO sticker on the cover! It's a great session, and sorely underrated.

Strong, strong LP though I have to admit a preference for Nipples. Brotzmann and Wright actually played a lot together in the '70s - Brotz augmented the Center of the World Quartet for some shows, in fact. And Buschi is such an underrated bassist; he and Peter K shine on this... I'll have to give my FMP vinyl of this'n a spin later today (wish I had the original BRO-2!) and post more concrete thoughts, though as dense a recording as Machine Gun is, it's totally imbued with the dadaist wiping-away that these guys were known for. The levity comes, of course, in that school marching band R&B riff at the end of side 1. Beautiful stuff! Thanks for bringing this one up!