clifford_thornton

Nice RogueArt profile incl. a short bit about Singularity Codex on Bandcamp: https://daily.bandcamp.com/label-profile/rogue-art-label-profile

Nice selection. Had the Yusef and sold it; have the Free Improvisation and Khan; have heard the Bajas... I'd probably buy the Boulez if I saw a European pressing in a shop. Looks good.

Young. Sad news. It is unfortunate to familiarize oneself with an artist upon hearing of their passing.

Indeed he is, and certainly a highlight. Incredible that you knew him!

Das Erich Kleinschuster Sextett Live -- (Preiser) hadn't dug this out in many years. Uneven, but some strong moments.

yeah, that was one reason why my father decided not to go to UT for graduate school and instead chose U of Rochester.

Thanks so much!!

I haven't heard the Ni Vi Nu Connu LPs yet but will give them a listen. Saw Butcher a bunch in the early 00s -- first in Chicago with Fred Lonberg-Holm and Glenn Kotche (didn't like Glenn's improvising at all [I dislike Wilco immensely] but Butcher was excellent) and subsequently in Texas solo, duo with Thomas Lehn, and in groups with the Austin New Music Co-op. All of the Texas shows were stupendous. It's been a while but I hope to have an opportunity to see him again. I have a smattering of his CDs and those in which he deals most closely with resonance and acoustics have impressed me the most, but he's such an incredibly deep listener and gutsy player that even the "standard" recordings of post-SME interaction or the saxophone-drum duos with Prévost, Nilssen-Love, et al. are quite remarkable. The trio with Lehn and Shipp (and the duos w/ both) are really something else too, though of course I've recently been going back to them with a very close ear.

I don’t know anyone who is lukewarm on Takayanagi — you either think he’s brilliant or can’t stand his music. I’m obviously in the former camp. It took time and a lot of close listening to understand some of what he was up to, but the respect was always there even if I didn’t get it at first. There are multiple approaches at work across his discography. One is the Bauer/Tristano-inspired concept. Another is Mass Hysterism. Mass Projection and Gradual Projection are others, and then there’s Action Direct (which is loop-heavy and minimal). And I think there are a few more beyond those. Blank Forms put out a bunch of translated interviews that are a great read, very informative and very intense. The man certainly had opinions and was exacting with respect to how they were put out into the world.

Yes. Actually, Billy Bauer was part of his language even into later years -- definitely audible on the Cool Jojo & Lonely Woman (solo) LPs, and New Direction Unit covered "Subconscious-Lee."

not "jazz" exactly, but this hard-to-find CD is getting the deluxe LP treatment. It's insane and fantastic. https://masayukitakayanagi.bandcamp.com/album/mass-hysterism-in-another-situation

no hurry, it'll be there when you're ready! Glad you dug the podcast...

https://www.jazzrightnow.com/review-singularity-codex-matthew-shipp-by-clifford-allen/

Rapped a bit about the book & related matters for The Music Book Podcast with veteran underground music scribe Marc Masters: https://themusicbookpodcast.buzzsprout.com/2120946/13380170-015-clifford-allen-on-matthew-shipp Also, if you are in NYC on 7 September, Matt, Yuko Otomo, and I will be doing a talk on the book & LES art/music/culture at Village Works on St Marks -- moderated by critic & historian Carlo McCormick, it is free and starts at 7 PM.

There are some excellent piano-Togashi duos: those with Kako, Yamashita, and Beirach come to mind. re: Y. Takahashi, Distant Voices (w/ Lacy & Kosugi) and the Satoh/Takahashi duo are both superb.

Right, that's a good one as well. Side two of Twilight is amazing in my opinion.

I like Twilight a lot but don't think of it as a jazz or free jazz recording.

I've seen it. It's borderline unwatchable but the music is great, and there's some footage of the AEC in performance and at leisure.

What do you mean? It was pressed numerous times between 1970 and the 1980s -- issued by EMI Pathé (FR), EMI Odeon (JP), and Nessa (US). Then Universal Sound/Soul Jazz reissued it (over 20 years ago now), plus there are some random EU bootlegs. It's an in demand record in its original/early forms and pricey, but not rare, and that consistent demand is due to the funky opening track, which is a masterstroke. The whole album is great and should be heard beyond "Theme de Yo-Yo."

Totally. Finally saw the film on Criterion and while my patience is strong for lesser-known French (late) new wave, this one didn't quite hold my attention... I'd think Zabriskie Point would be another, as would Pink Floyd's More soundtrack. The collection of Can soundtrack music (called Soundtracks) is also far more well-known than any of the experimental films that used the tunes.

Not much to add to Colin's post, which definitely points out where I'd go. The Claxon octet records (& related) are very good, including Quick Step, and I don't think the "chamber improvisation" tag really captures the entirety of what they are about. Hadn't seen these videos with Joling before. A friend of mine (performance artist & photographer) was Altena's girlfriend in the 1960s/70s and has some interesting stories.

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.