clifford_thornton

This takes the cake... Brotzmann Trio I mean, it is the private, but still...

Neither the disc or the liners are at all bad!

Despite the fact that Cecil was pissed about it (for reasons we may never know), I still like the idea behind Into the Hot and wish Gil had sponsored more projects of artists he wasn't personally involved with. I mean shit, he recorded a version of Alan Shorter's "Parabola" - what if he had written notes for Orgasm? It might have meant a whole 'nother Verve in the '60s - or not.

Thanks; I found a Time article from mid-1960, though not a cover story. Y'all please forgive me for referencing any of my own work on this board. Let it never happen again.

One reason why if I ever move to California, it will be to a part of it that I wouldn't need a car...

Ah, I was just yanking your chain epistrophy! See, now if I were Clem, I would just try and turn the screws tighter...

Listen man, I am not disagreeing with you - I would just prefer something to answer the question at hand, like whether this was insanity on Stollman's part or whether there was a major mainstream news article anywhere on Coleman around 1960. It would help, but picking at inconsistencies on my part doesn't help the question get answered, nor does claiming my philosophical ignorance help me, or anybody else on the board. We are all good at making one another look like asses around here, hence my original response, so it would be nice to redirect it to something helpful. Of course I don't know - but I am genuinely curious if someone around here could help by suggesting exactly what should go in place of the passage in question in the Stollman interview. I'm happy to alter it with something more concrete. OK?

"Miles' Mode" and "Red Planet," being the same tune, are variously attributed to both Trane and Dolphy as composers. Hence... the humor attempt.

Wonder what Walter thinks?

I didn't know Jazz Kat painted!

Only one with Naomi Watts...

It is GREAT. Please see this movie. And yeah, Clooney is amazing, as is the actor who played the young Pakistani migrant oil worker (can't remember his name right now). Also, the Passenger reissue is great - but that's for another thread.

Sunny Murray has a number of records out as leader (3 on BYG alone). Also, I'm wondering about the money Stollman made by licensing the ESP stuff out. Some of the Japanese reissues were not legitimate, but I'm almost sure the German ones (ZYX) were. When I've talked to James Zitro, Sonny Simmons and Bert Wilson they've all said they have never seen one cent in reissue revenue. Of course, I have yet to read that interview with Stollman that Д.Д. posted, so if these issues got addressed in there, please excuse me. But Sunny has only one ESP - in context, that is what I meant. The ZYX label did not pay Stollman anything other than a small chunk of money up front, without paying royalties. Without those coming in, obviously the subjects of the reissues wouldn't have been paid. All of this is discussed in the interview. As for Time Magazine, I suppose it is possible that it was an "article" rather than "on the cover." Now maybe someone could be helpful in amending this - and I mean genuinely helpful, not steering in the direction of Flaubert or any other heavily-opiated wandering surrealists. Thanks, CT

We miss you around here, B! Come back and post some! I think I know where you'll be tonight... Brandon's birthday is easy to remember - it is the same as my father's.

Wow.

Maria Schneider is making faces at him?

I'm pretty sure there was a Time cover analagous to the Friedlander photo on The Shape of Jazz to Come from around 1960. I have seen this referred to before talking to Stollman, though I wish I could corroborate it with an exact issue (unless it's not Time but another magazine). Guess that's my job as a researcher, but I have too much other shit to contend with this week...

We are shameless, aren't we?

Yeah, insurance companies suck. They want to profit, and this is an easy way to do it. Without knowing the circumstances of the case, it's hard to say what is happening with it from our end. And liability - correct me if I'm wrong - would kick in only if Phil had hit the other guy, and paid for HIS medical up to a certain (small) amount. Right? Of course, the fact that all he had was liability is I'm sure due to the fact that insurance is an exhorbitantly expensive rip-off, even if you have it. Regardless, a very unfortunate scene for a great artist. He will be getting my well-wishes.

This is one step closer to an ideal pan-cultural study of free jazz and improvised music, well worth reading (despite more typos than the usual Yale text). Particularly enlightening for me was its delving into jazz in Eastern Europe, a subject about which I know very little. I suppose that, for me, the philosophical implications in his visitation of the subject of "time" could have gone a little farther than they did, but it was cool to see non-Western temporal ideas applied to what is often considered a Western art music. Here is a review I wrote on it for AAJ. Apparently ejazznews copped it without asking (dipshits), so please use this link for reference. Northern Sun, Southern Moon Review Happy Reading! Clifford

I found this on the AAJ website - some very scary news, though it certainly could have been worse. Best wishes to Phil as he makes his hopefully speedy recovery! Legendary slide trombonist, Phil Ranelin, is alive and recuperating from a major operation Posted: 2005-12-10 Legendary slide trombonist, Phil Ranelin, is alive and recuperating from a major operation as a result of a severe traffic accident caused by an 18-year old drunk driver who ran a red light and broadsided Ranelin's Honda accord on 3rd Street and Normandie as Ranelin was on his way home from sitting in with Obie Jessie at Cabrini's Jazz Alley in Los Angeles during the Thanksgiving Weekend. The successful 5-hour operation took place Friday, December 2, 2005 at Noon, after orthopedic surgeon, Dr. Emmanuel, pieced together Ranelin's knee and lower right leg which were fractured and broken in several places. He is expected to recover fully after convalescence with advanced orthopedic technology which allowed Dr. Emmanuel to salvage and rebuild Ranelin's entire leg. Get well greetings can be mailed to: Phil Ranelin c/o Brotman Medial Center/Rehab Unit 3828 Delmas Terrace, Room 430A Culver City, CA 90232 (310) 836-7000, Extension 7430 Ranelin had liability insurance and the at-fault driver had none. So donations towards Phil Ranelin's medical expenses can be given as a tax deductible donation through the following non-profit organization which has agreed to act as a fiscal receiver for The Ranelin Fund (which should be notated at the bottom of the check or money order and made out to and sent to): The World Stage Performance Gallery Phil Ranelin C/O The World Stage PO Box 83253 Los Angeles, CA 90083 “Boneman” Ranelin hopes that he and his bones will be back on the Jazz scene soon.

What about a project with Richard Pryor? Anyway, I really should quit putting this LP off and pick it up next time I see it.

Depends on whether you're Dolphy or Coltrane (as per your post above).

I always thought Mulgrew was a little more :bwallace2: , y'know?

That Clifford fella is everywhere!