clifford_thornton

Interesting. I would say I listen to music from each decade fairly equally, with recent listening skewing toward the last 20 years or so. It helps on the latter point to see a lot of live music and book bands at a venue near my house.

That's too bad. RIP.

Made uneasy.

Alan Bates was snapping up anything he could. I'm glad the music is out there for sure but can't imagine anyone was really getting paid too much out of the deal. Bill Dixon was going to do a Fontana 2LP set (it would have had Marte Röling's artwork!) but got skeeved out by the terms.

Weird. A few I would like to get as they are otherwise unissued.

excellent record that I haven't dug out in years -- actually had forgotten about the kitty on the cover, which is strange because I am rather cat-obsessed!

right. I never had the FMP CD, only the LP. Anyway, it's a swell performance.

he did not feel prepared for the date, apparently.

it's on the Complete Machine Gun Sessions CD on Atavistic/UMS. Good stuff. I assume Pharoah was signed in '66 leading up to Tauhid. Not sure what Marion Brown's contract looked like; there was at least one other album recorded for Impulse in the 1960s that did not make it to print, and he decamped for Europe not too long after Three For Shepp was released. Of course, that contract was picked back up (or another one written) in the '70s.

Yes, I have an older reissue of Eclipse and did buy this box set as well. Can't comment on the Black Editions pressing of Eclipse but they did a great job on Station '70/Live Independence. The music is fantastic, of course, detailed and often quite dense.

Brown didn't have a contract with Impulse until 1966.

If it were recorded properly, I doubt Dixon would have been submerged. His tone definitely cuts through, even if it is dusky. But given the actual history of the time I cannot really imagine him being on that record. Steve Lacy would've been fun, but he was in Europe at that time. I also don't think of Allen and Dixon as among the younger 60s crop; they were born in 1924 and 1925, respectively.

Such a great record.

It's Dewey Johnson, not Dewey Dixon on the original. Frank Wright was invited to be on Ascension but demurred. I kind of wish he was there. Marion Brown wasn't all that random, as he knew Coltrane and was already making a name for himself on the scene at the time. Dixon would have been interesting -- he knew Coltrane of course -- but was already on another trajectory. Hubbard's presence has always struck me as weird even if he plays well in that situation. Coltrane as we know was conflicted about going "too far out" and having a horn player from his camp probably made it feel easier, not to mention helping sell records. Lasha and Simmons could've been a good fit (Lasha was in England then I believe) but of course it also would've been a very different record, and probably more reined in. Machine Gun is great as it is; there is a live version with Gerd Dudek added on tenor saxophone.

It's an enjoyable record for sure, though I must admit it's been some time since it's been on deck. I can't imagine it being reissued on CD either... maybe a bootleg LP will surface but that's about it. Really had a great time interviewing Simmons many years ago. I can still hear his voice.

the Björn Alke and Tommy Koverhult are also good. The Falay is easily my favorite of the ones I have.

oh yeah, that stuff rarely makes it over here or into online listings I'm regularly trawling. Can't believe I forgot Globe Unity/Sun, though I guess the FMPs and radio broadcasts have outshined it a bit for me. That said, it IS the orchestra's first!

Clucas is heavy.

yeah those are fun.

Nozero seemed like he could play a fair amount of different things to me -- I guess I expected more of a modern/modal post-Coltrane thing (in a different bag) from him and when I heard that album I felt it swung too far in the commercial direction for my tastes. Then again, in its original form it is pretty damn rare for a commercial record!

Time? I have heard it. Wasn't for me but it's certainly for others.

Ornette's group is on Yoko's first Plastic Ono Band record. She also recorded with John Stevens and John Tchicai. Yoko gave a eulogy at Ornette's public funeral and it was very moving. As a "movement" or, rather, a collection of artists, Fluxus was quite diverse in terms of practice and had ties to the Judson dance circle and significant early figures in post-minimal and conceptual art. Charlotte Moorman is someone you should also read about if you want to learn more about that time period in New York and the work that was produced.

Right, yeah the Stratas I own are Location, the Bert Myrick, and Sphere. All of those I enjoy but they're all less on the funky side of things. Very little Tribe is in my bag. I'll probably pass on these but I guess it's good that they exist!

I have Location, which is good -- how are these archival releases? I had them pegged as more "jazz-funk" but maybe that is inaccurate.

Haha, I do have an original Liberty of that thing...