clifford_thornton

I dunno, if the dude was calling it a 'microgroove' and looking it up on Gemm, I side with pasta... weak in my opinion, without much knowledge of the record even apart from the music contained (which, IMHO, isn't that great either). People do this Gemm- or eBay-research all the time, but if they had any idea how fickle these markets were, rather than 'oh, I saw that Lee Morgan for $200 last week on eBay so I'll sell it to you for $175' shit, they might get a better grasp on what these things are really 'worth.' Uggh, it hits me right under the skin. He should've offered it for $40, considering the condition. I'd be hard pressed to spend $150 on that title anyway... again, it's not that good. I probably would've sent Pasta my stereo copy if I hadn't unloaded it already. And yes, I understand 'business' but I don't understand certain 'business practices' which involve the maxed-out e-pricing. People pay far more impulsively in auction than they ever would in a store.

Not the sort of folks (save Hutch) I'm normally itching to hear, either, but what I've heard about these discs makes even ol' CT curious...

As per the Judgement post, my statement was that it had been OOP for some time. I can't even remember what the CD sounded like before - I'm on a Liberty LP and have been for many years. It's funny, they've been putting out a lot of weird Hill BNs on disc, but not so many of the earlier essentials.

Maupin also takes it there with Marion Brown, on the first ESP as well as Juba-Lee (Fontana). I really, really dig his tenor playing on these...

Just finished Shepp's "Pitchin' Can" (America). Now going to take it outside. No, I mean really, going to leave the house...

True, he's been the emcee and, I think, main promoter-musician for the Pori Jazz Festival since the late '60s.

Of course not, just wanted to be sure Fitz got what he needed. Was going to post some Ted Curson interviews but haven't had time this week so far; I'll try to do so over the weekend...

I tried to order The Magic of Ju-Ju on LP but, as I can't check my hotmail at work, have no idea whether I beat out the 37 other people who want that record. Be curious to hear Shepp and Zwerin doing "Sorry 'Bout That," if nothing else... perfect tune for free-&-B.

I've never been convinced of Atomic's grading, and at those prices, well...

I'd say the more analog the better - captures the true, woody sound... and strangely enough, I've always liked the way Richard Alderson recorded the bass on those ESP sessions. Gritty as hell!

A buddy of mine is supposedly going to put out a record of Braxton and Wolf Eyes later this year. Should be interesting... and hey, if they're hitting spliffs, so be it. What the hell does anybody care? Only Brax piano I have is the clatter on Futura, but it's pretty heavy.

Shit, thanks for reminding me - Fickle Sonance is the one Jackie BN LP I don't have... more nail-biting shall ensue.

Oh yeah, Gruppe Nuova Consonanza "Improvisationen" (Deutsche Grammophone)... clanging and carryings-on at various densities by several 'name' Italians and an American bassist. Edit: spelling my connectives

I've lucked out on Vertigo prices, but then I don't have the Nucleus records or the one in question... and made a boner a few years ago of not buying the Agitation Free for $30. Oops...

You beat me to it!

You won't be disappointed... a fuckin' great session. Wish BN would issue it stateside, but then there was that whole 'Iraq' question (sheesh!)...

Right-O. I was just going to go to the shelf and do that!

Thanks for the info... another one to seek!

Ah, the Japanese CD market - forgot that they've done everything imaginable (save the Watts on Savoy). When I get home I can PM you that info; pretty sure the LP has it. Cheers, CT

I'd add that Fontana issued another Curson, "Urge," which is unfortunately not on CD. Similar thematic concepts, but more 'out.' If you've ever wanted to hear Booker Ervin play Aylerisms till the co(u)ws come home, this is the record.

I don't think I've heard much of Curson that really is a 'blowing vehicle,' which puts him in a different league than some of his contemporaries (i.e., free-leaning hardbop trumpeters). The opener, "Kassim," slayed me on first hearing, that tidal wave of rhythm from Berk, with extraordinary weight placed on the 'one,' just surges in ways one rarely hears - plus, that slinky tango-like theme dancing atop makes it unforgettable. Following it, then, is a down-and-dirty blues, "East 6th Street," which makes for a perfect about-face. It's funny, "Tears For Dolphy" isn't really a lament (as Jackie Mc's "Poor Eric"), but a joyous celebration of improvisational art at a fulcrum of one of the music's most vibrant decades.

I always think it's weird when people say Monk (or Bud, or Cecil) don't have technique... and yet people still do.

I think Living is on LJCO "Ode" as well (as are most players of the period, it seems); haven't heard much of his soloing, though. What's he like in a stripped-down context?

The Hill and the Lonnie have been deserving of better treatment for years, ditto the Cherry (tho can't see them moving quite as many units)... The two Blakeys I've heard the best words of are Big Beat and Freedom Rider. Not being a huge fan of the Messengers, I would still like to check these out. Not a big fan of the Redd (not enough solo room); much prefer Shades of... Kent Carter speaks of a version of the Connection tunes with himself on bass, Keith Tippett on piano, John Stevens on drums and Trevor Watts on alto. From what I hear, they stretch it OUT... now that's a bootleg I'd sell a firstborn for!

I'm starting to wish I hadn't sold my smattering of electric Miles records (save Bitches Brew)...