jon abbey

incorrect, from start to finish, although again, I wouldn't actually recommend that anyone else check him out.

your loss, the most interesting and informative online music forum I've ever seen or been a part of.

wow, all this comparative ranking of Jandek records. I just buy them all and enjoy them (or not, occasionally). they're all just part of Jandek to me, I never really considered this kind of analysis. interesting, though, I'm going to go back and read this thread from the start...

I won't defend Jandek as being good, or recommend him to anyone else. but I own 36 of his CDs, every one he's released except 1 or 2 of the acapella ones, which I got a bit sick of. they're cheap ($7 or $8 for 40 minutes of music), and I always enjoy listening to them, even if I don't revisit them much (although with 6300 CDs or so in my collection, plus whatever Erst stuff I'm working on at the time, I don't revisit too much of anything these days).

In Respect is the label name there, in case that wasn't clear.

one great Ayler release that not many people seem to know about is the double CD Albert Smiles with Sunny (In Respect). it's the full concert of what was released by ESP as Prophecy, the trio with Peacock and Murray a month before they recorded Spiritual Unity. more info at the bottom of this page: http://www.ayler.supanet.com/html/prophecy.html

Grow Fins is for Beefheart completists, beautifully packaged but the material's not essential. it's actually pretty similar in that way to the Ayler box that Revenant is about to release, my friend who has an advance of Holy Ghost and I were talking about this the other day. you shouldn't even consider picking up either until you have at least five of the best individual records by that artist already. John, get Shiny Beast, not only is it the best of the three comeback records (IMHO), but I think it stands with anything he ever did, including Trout Mask Replica (although comparing Beefheart records is apples and oranges a lot of the time).

another 60 or so discs from my dad's collection are posted now, including quite a few from Chet Baker, Stan Getz, Dave Brubeck, Charlie Haden and Laurindo Almeida. we also lowered the prices, to $5 plus shipping for single discs. same as before, full instructions are at the bottom of the page, it won't help to PM me about these, because I'm not the one dealing with selling them. you need to e-mail Nirav Soni at nms240@nyu.edu, and make sure he still has the ones you're looking for, thanks a lot for looking! http://homepages.nyu.edu/~nms240/jazzcds.htm

we do, but we're running low on most of them (we're out of Newfoundland), and I don't expect to restock for quite some time, if ever. all of the ones we still have are great ones, though, with the exception of the collaboration with Formanex/John White/Laurent Dailleau on Fibrr. ErstDist is closed through the 26th, but if you follow the instructions on the site (http://www.erstwhilerecords.com/inventory/list.asp), Chris will fill your orders after that in the order he gets them.

great, thanks for the nice feedback. another 60 or so are posted now, including quite a few from Erroll Garner, Stan Getz, Benny Goodman, Jim Hall and Scott Hamilton. same as before, full instructions are at the bottom of the page, it won't help to PM me about these, because I'm not the one dealing with selling them. you need to e-mail Nirav at nms240@nyu.edu, and make sure he still has the ones you're looking for, thanks a lot! http://homepages.nyu.edu/~nms240/jazzcds.htm

talked to Nirav, he said the problem was that everyone asked for the same few CDs, and he was waiting for confirmation from the people who claimed them first. everyone's mails should be answered now, sorry for the delays...

not sure what's so "labor-intensive", e-mail Nirav at the address above and he'll let you know how much money to send. if he hasn't been getting back to people promptly, I apologize, I just left him a message telling him to let me know what's up, he's normally reliable. hopefully you guys can un-rescind your orders if you're still interested...

hi, people. again, please don't PM me about these, because I'm not the one dealing with selling them. you need to e-mail Nirav at nms240@nyu.edu, and make sure he still has the ones you're looking for, thanks a lot!

thanks, guys, I'm not actually the one answering the mails about this, my intern Nirav is, but I'm sure he'll get back to you soon. and, yes, that is indeed the one and only Petey the Sexual Harassment Panda... Who lives in the east 'neath the willow tree? Sexual Harassment Panda. Who explains sexual harassment to you and me? Sexual Harassment Panda. "Don't say that! Don't touch there! Don't be nasty!" says the silly bear. He's come to tell you what's right and wrong. Sexual Harassment Panda. when one little panda puts his furry little willy in another panda's ear, that makes me a very sad panda.

a few years after his death, I'm getting rid of the bulk of my Dad's large CD collection, mostly classical, but a few hundred jazz CDs. here's the first set, about 150 of them. directions for purchase are on the bottom, $6 for all single CDs: http://homepages.nyu.edu/~nms240/jazzcds.htm thanks a lot if you buy anything...

some of the releases I press 2000 to begin with, including Wrapped Islands, as opposed to the normal run of 1000. Wrapped Islands is the only one to sell more than 1000 so far, there are a bunch more around 700-900, and a lot more around 300-400.

Bill Dixon's best releases are the two Vade Mecum releases, particularly volume 2, quartets with Guy, William Parker and Oxley. I'd rank these among my few favorite improv records of the nineties. Wrapped Islands is actually the top seller, followed closely by World Turned Upside Down. do is third or fourth, I think. it's not for everyone, but it's an amazing record.

we have it too, a couple of dollars cheaper: http://www.erstwhilerecords.com/inventory/list.asp you should be able to get it in the UK from sound 323 in London, even if it's not listed, I'd e-mail and ask: http://www.web-malls.net/sound323/

honestly to me, La Voyelle Liquide is as filled with warmth, humanity and emotion as any other record discussed on this thread. you connect to it, or you don't, just like any other music. if you don't connect to it, and you're curious as to the thinking behind it, there's plenty of info on the web, and you can explore as much or as little as you'd like. and maybe it's not for you, this music isn't to everyone's taste, which I'm not saying to be obnoxious, it's just true. I'm also really not trying to piss people off, sorry if I do/did. I'm not always especially tactful, I say what I think straightforwardly, sometimes it doesn't always come across so well. so, sorry if I offended.

"The question was what eai musicians are trying to accomplish or their aesthetics. Sure, you were asked for your opinion and can answer it any way you like - but having the close communication that you do with many of the musicians, you could have provided a bit more substance. Later, perhaps." it's a huge area, different musicians are trying to accomplish different things. there's tons of info on the web, much of it written by me (as John pointed to) if people are genuinely interested. I also don't really think I should speak for musicians. "What makes you think anyone is looking for fights relating to different styles of music any more than you are?" not saying anyone is, just trying to stop anything before it starts. I'm hardly looking for a fight, simply stating my viewpoint. my experience is that when you state a viewpoint that goes directly against the general conventional wisdom of a group of people, some tend to react strongly, which is where some of my ongoing confrontations on Jazz Corner stem from. I'm attempting to nip any of that in the bud before it starts, and simply try to explain my position.

it's all in the ear of the behearer, my man. when I first heard Ornette Coleman's classic Atlantic quartet work, I thought it was hideous and couldn't understand what anyone saw in it. a couple of years later, not only did I think it was drop-dead gorgeous, but I couldn't understand how I could have ever thought anything else. similarly, I used to listen to a lot of the artists and labels you guys discuss on this thread, I was as deeply into this scene as any of you. now, I have zero interest in 99 percent of this stuff, it all just sounds to me like it's being spoken in the language of a previous generation (not trying to instigate or looking for fights, I was asked for my opinion, and I'm simply trying to explain). there's plenty of info, reviews, interviews with those guys (particularly Gunter) on the web, and David Toop's new book Haunted Weather also explores a lot of the ideas behind this relatively new area of improvised music, I'd definitely recommend reading that to help answer your above questions. this music isn't for everyone, no music is. I will say that in my experience, if you do break through and start to understand what the musicians are trying to accomplish, it's extremely difficult to go back to listening to any of the music you previously did in the same way.

Chris deals with the non-Erst part of Erst distribution, and has all the inventory at his place, I won't see him before we drive up tomorrow. he's normally very meticulous, that's actually the first time I've ever heard he sent the wrong disc (I've done it a couple of times myself over the years), but I'm sure if you told him, he'd be happy to rectify his error.

mildly irritated that someone referred to them as "the Brotzmeister and the uberHanosan"?

thanks, John. I only have two left now, actually, and anyone interested in ordering directly from me should do it quickly, because I'll be in Cologne/Berlin from May 3-20 at my AMPLIFY fest, so I can't fill orders after this week until I'm back. Chris Wolf will still be filling orders at ErstDist in the interim, though (http://www.erstwhilerecords.com/inventory/list.asp). someone asked about AMM some pages back: good places to start are Live in Allentown, Generative Themes, Newfoundland, Before Driving to the Chapel..., or Fine. they're probably best known at this point for their post-1980 trio incarnation of Rowe/Tilbury/Prevost, but their sixties incarnation with Cornelius Cardew is very different, much noisier, as captured on AMMusic 1966, the Crypt, and the first disc of Laminal, so another way to go is chronological. I'd stay away from the duo Gare/Prevost releases without Rowe, the new one on Anomalous and the previously released To Hear and Back Again. I also think that the Rowe/Tilbury double CD I released last year, Duos for Doris, is a good place to dive in, possibly the best release either of these two master musicians has ever been involved with, and the Erst release I'm the most proud of. anyway, I think it takes a handful of releases to get a good picture of what AMM are really about, one or two won't really do it.

What's that disc? I know it was discussed here before, but I can't remember if that was on page 27 or page 51 of this thread ubu I think it's Günter Müller/Lê Quan Ninh - La Voyelle Liquide - erstwhile 010 yes, that's correct. press release, sound samples, and some reviews on this page: http://www.erstwhilerecords.com/catalog/010.asp