jon abbey

that's a lot, I'm guessing Eric would be flexible for larger orders.

Family Vineyard is run by Eric Weddle of the Unstable Ensemble (among others), who used to live in Indiana and now lives in North Carolina.

I'm sure there are a few different scenes/microscenes within Boston jazz/free improv, and I don't know exactly which you're interested in, but the one I'm most familiar with is the Greg Kelley/Bhob Rainey/Jason Lescalleet (now in Maine)/Howie Stelzer/Brendan Murray/Mike Bullock abstract crew. the top labels are Sedimental and Intransitive, the Rainey/Kelley/Lescalleet double CD due soon on Intransitive is much awaited in this house.

blake, one of the main reasons Christian and myself wanted to release Live at the LU was because it showed such a raw side of his work, pretty much diametrically opposed to stuff like Endless Summer and Venice. it also helped to strengthen the relationship between Keith and Christian a lot, which helped lead to the 4g project.

just because I can't listen to most of it anymore doesn't mean that I didn't spend quite some time in Funny Rat territory, as well as exploring jazz reasonably thoroughly. what's really funny is to take a look at my rec.music.bluenote postings of a decade ago, quite a few would fit very nicely here.

that all depends on whose canon you're following, I suppose. here's a rough one I did quickly on Jazz Corner in 2004 (there would be a few more Ersts in there if I updated it, Good Morning Good Night and EL005 certainly, probably not many other changes), along the lines of Ben Ratliff's book and the Penguin Guide "crowns", but trying to be a bit more wide-ranging in terms of the ground covered as well as bringing it up to the current date: http://www.jazzcornertalk.com/speakeasy/sh...1675#post261675

I don't have much interest in most of the Black Saint/Soul Note catalog anymore, but the ones that I think are real classics are Bill Dixon-Vade Mecum and Vade Mecum II, quartets with William Parker, Barry Guy and Tony Oxley, following up the chamber jazz legacy of the Giuffre/Bley/Swallow trio.

oh, I see the link now, thanks...

interesting, is that whole thing online somewhere? I have huge amounts of respect for John, he's probably my favorite saxophonist in the world (pretty much the only one I can listen to these days). but he is rooted somewhat in first generation EFI (as he says there), and there are even newer waves of musicians coming up, who he's probably not so familiar with. as far as the London scene goes, Mark Wastell and the group of musicians around him (Graham Halliwell, Matt Davis, sometimes Phil Durrant) are probably the most currently tapped into what's happening in international improv in 2006. John is a bit UK-centric, despite his extensive work with the Vienna crew, and occasional dips into the Tokyo crew, his mindset is still very rooted in the London scene's way of thinking about things.

AMM actually took me a while to get really into/understand after I first encountered them. I read about them in the first edition of the Penguin Guide and when Peter Stubley's EFI site started up, then I happened to see a copy of The Crypt for sale at the Jazz Record Center, so I picked it up. I really didn't get it, but for some reason, I gradually picked up a handful more of their releases and I saw them here in 1994 (the show that's the third disc of Laminal, not one of their better moments, live or on disc). it was about the fifth disc I got that was the breakthrough, it happened to be Generative Themes, but I think it was more important that it was the fifth and that I'd let this kind of music sink in for a few years. it was hard for me to understand at the time how musicians could be seemingly ignoring each other but the whole could still add up to far more than the sum of the parts. but once I connected with it, it changed my life, no hyperbole there. anyway, it's funny, now the AMM discography is mostly a little too old-school for my tastes (not all of it, but too often Prevost jumps out of the mix to break the atmosphere). I do think the comment "unfamiliar sounds tend to throw me" is a strange one for someone obviously into so much of what this thread covers, but I guess I understand. I don't think it's the sounds that throw you, I think it's the logic behind them, it's a different way of thinking, but maybe you know that already.

recordings are recordings and concerts are concerts, two different experiences, even if the recordings are of live shows. a memory of a concert isn't really a fair comparison to a recording that you play through your stereo and can revisit multiple times, it's just apples and oranges. the Boston recording floating around doesn't do a great job of capturing the feeling that was in that room that night, although I haven't heard it in a while.

huh. I don't like to compare recordings and concerts, two different animals. the Boston show (the one that was part of Autumn Uprising) was the best of the AMM sets I saw (somewhere around 10, I think). why do you ask?

I'd second these AMM suggestions of John's: AMMusic 1966 is the early, non-Tilbury incarnation, much closer to free noise, I'd say try that or the Crypt later. the second disc of Laminal is a career high point, but it's only sold as part of the 3 CD set. I'd add Fine and Generative Themes to the three above, that'll give you a nice picture of the band with both Tilbury and Rowe. I'm also obviously biased, but I'd say Duos for Doris is a stronger record than any AMM release, not sure if you've heard that or not.

she's the one who the AMM disc Fine is named after, it was a collaborative set. Keith told me he basically just left his guitar on the table and let the vibrations from her dancing create the sound.

wow, Temps Duree is still around? did you get confirmation of that from Christmann? I thought I bought the last copies of that from Thomas like 4-5 years ago. really good record, and awesome packaging...

he's done a few, he did one with Marina Rosenfeld, I think they did sets at both the Stone and the Kitchen. he had his first kid earlier this year, so between that and his job and finishing his book, he doesn't have much free time.

no rush if you want to bid on other stuff and save on shipping...

yeah, I saw that too last night when putting the CD up on ebay, nicely done. they do call it an "audiodrama" on the CD itself, FWIW...

yes, my shipping is clearly marked within every auction, it just doesn't come up on that page. $4 in the US, $6 overseas, lower if you combine items. I've sold most of what I've put up so far, I think a lot of those are unbid on because of the holidays, so I wanted to give people a chance to see them before they expired later today.

up. lots of titles up with no bids, a bunch expiring today, including titles by Oliver Lake, George Lewis, Franz Koglmann, Clusone Trio, Henry Threadgill and more. please take a look, thanks! http://search.ebay.com/_W0QQfgtpZ1Q...QQsassZerstrecs

she's talented, actually, I saw her do a very nice duo improv set with Loren Mazzacane Connors during his 50th birthday month at Tonic in 1999. but from all reports, the bulk of her concerts are (or were, at least) duds, and she could use generally more interesting backing musicians on her records, at least she started working some with the Dirty Three guys.

ratliff, lest anyone forget, is a world class douche & if he's shrewd enough to bluff it sometimes, please don't let this essential fact go unrecognized or unremarked. i pointedly ignore the dipshit now-- i loathe his racist/classist creep paper too, from the left-- but whenever i bump into him... like here... who gives a good goddamn for "everyday terms" and, who's he to claim what's "too much"? imagine being at one of those gigs where miles opened for the dead? was that "too much" that day also? (ratliff also wrote one of most inane, insulting cat power reviews a few years ago too; hint: he couldn't fuck her, so call her-- in so many words-- a no-talent... riiiiiiiiiiight.) um, jealous much? ben happens to be one of the nicest people I've met in my life, and if he wrote a less than laudatory piece on the vastly overrated ms. marshall after one of her starving for attention, public breakdown sets, it certainly had nothing to do with anything extramusical. anyway, pretty sure I know who this is now. just another bitter critic...

I also feel compelled to point out how specifically stupid this comment is, as anyone going to a Sunn O))) or Earth or Pan Sonic show knows exactly what they're going to get, whereas the range of music presented at the recent ErstQuake festival included Daniel Menche, Hive Mind and Joe Colley solo sets, not to mention quite a few sets that were serious surprises in terms of style and approach to everyone in the room, even me, who put the whole thing together. if you'd gotten off your couch over there in Brooklyn and come in for a night or two, maybe you wouldn't be blabbering quite so much here. and I'm well aware that this discussion has zero to do with the initial point of this thread, but that's life on a discussion board.

nah, Byron runs a record store, he knows better than to spout gibberish about "marketing scams" from labels averaging maybe 400 in sales per title.

Clem, I don't recall anyone offering you promos, first off, so no worries there. I basically just wanted to know what the hell you were talking about, and quoting the Minutemen doesn't especially help me. you still have offered zero specifics, instead writing off a genre that stretches from Marcus Schmickler to Taku Sugimoto with bland generalities. as for it being a "marketing scam", I have one title that's sold over 1000 copies, that's pretty piss-poor marketing if that's what it is. as for originality, Byron Coley called, he'd like his prose style back.