P.L.M

I second that. I've always have tubes, never get any problem. I don't think that one tube is the reason of your problem.

Strange list that Monk's list. And some obvious mistake: - MEDIA 7 is distributing records. It's not a label. - PATHE-MARCONI is the property of EMI since the seventies. If the definition of a "bootleg" is printing records from other labels without have purchase the right from the owner of the copyright, FRANCE'S CONCERT doesn't belongs to this list: the records of MONK (and others: COLTRANE, MINGUS, EVANS, etc.) that they manufacture was coming from radio and TV sources and was unpublished. What they didn't do was to pay to the artist or their heirs the right to publish this music. Not very correct but not exactly the same thing. But, when this label has stop his activities, all the music that he has published has disappear with it. Not sure that we have win something here, really. It's on this label that was first publish the live version of A LOVE SUPREME who is feature on the COLTRANE'S DELUXE edition of the record. So, this proove that something can always be arrange, I suppose. All the material on this label who doesn't exist anymore (due to copyright problem, I suppose) came from France TV and radio archive who's name is INA (INSTITUT NATIONAL DE L'AUDIOVISUEL). There are lot visual and sonic treasures who are sleeping there.

To have see them live (end of April in Brussels for the first concert of eleven date) help to like the record. The interplay between Liebman & Eskelin was really amazing live. It's a bit formal on the record but after few listening, okay. What is missing from the concert is the explosive and incredibly inventiveness of the drumming of Jim Black. The hatOLOGY offers just a "photocopy" of that.

Sylvia Hallett is an amazing musician.

- Bobby Few and Horace Tapscott. - Sun Ra & Per Henrik Wallin. - John Law & Howard Riley. And, of course, Charles Mingus.

... I won't believe it. Aniway there's some good Crispell under her name "For Coltrane" by exemple who is... on Leo I think. (I'm taping that on an alien computer during my (sweet) exil in south of Spain to a friend place where the only (Jazz) music he has to offer is hard bop from only sax/ trumpet players. But it's rather fun to listen to this stuff again - Coltrane/ Davis/ Rollins/ Gordon/ Montrose/ Brown (Clifford) etc. on the greatest HiFi equipement I've ever encounter - The most expensive Jamo Speakers ever built push by two mono hybrid amplifier that I never heard about (Lam or something like that). The guy has five differents CD and SACD players. And of course he has a special room to listen to the music who is design like a recording studio. So far let say that the sound that whole thing produced is quoite amazing.)

AMM: LIVE IN ALLENTOWN USA (MATCHLESS) THE VINY GOLIA QUINTET: ONE, THREE, TWO (JAZZ'HALO) JAMES FINN TRIO: FAITH IN A SEED (CIMP) DENNIS GONZALEZ: THE EARTH AND THE HEART (MUSIC & ARTS) PAUL DUNMALL & PAUL ROGERS: AWARENESS RESPONSE But I can list 5 different titles in 5 minutes, 5 others in 10, in 15, in 20...

Who's really the drummer on this session? MICKEY ROKER as listed here or FREDDIE WAITS as indicated on my copy of ONE FOR ONE? Edit: spelling corrections.

My god DD, think twice before throw things like that on the public place. HAMID DRAKE works four or five times harder than Blackwell ever did (before he gets sick). So, everything is not mint, that for sure. But you have just to listen to him behind, let say, PETER BROTZMANN among others to hear immediately than the man has rigour and imagination. You know what I liked to hear? A duo between him and WALT DICKERSON. I think that could be the pic of the career of both men. (Just passing by and seeing some light. Later)

I will add to the list of John and Ubu: MARYLIN CRISPELL: FOR COLTRANE (LEO) RAN BLAKE: BREAKTHRU (IAI) SUN RA: SAINT LOUIS BLUES SOLO PIANO (IAI) HOWARD RILEY: SINGLENESS (JAZZPRINT) MARTIAL SOLAL: BLUESINE (SOUL NOTE) PAUL BLEY: HANDS ON (EVIDENCE) PAUL BLEY: SWEET TIME (JUSTIN TIME) MARY LOU WILLIAMS: ZONING (SMITHSONIAN FOLKWAYS) AKI TAKASE: LE CAHIER DU BAL (LEO) KEITH TIPPETT: MUJICIAN I/ II (FMP) KEITH TIPPETT: MUJICIAN III (AUGUST AIR) (FMP) KEITH TIPPETT: UNE CROIX DANS L'OCEAN (VICTO) MAL WALDRON: UP DATE (SOUL NOTE) DON PULLEN: EVIDENCE OF THINGS UNSEEN (BLACK SAINT) CECIL TAYLOR: FOR OLIM (SOUL NOTE) CECIL TAYLOR: ERZULIE MAKETH SCENT (FMP) CECIL TAYLOR: LOOKING (BERLIN VERSION) And on, and one...

My favorite vibist to. In fact he made me like the instrument 25 years ago. But, If you don't have heard his masterpiece till now, you DON'T KNOW what a man can do with a vibraphone/xylophone or what ever name they gave to the instrument. (The masterpiece is : TO MY SON (STEEPLECHASE) featuring ANDY McKEE (on bass) and JIMMY JOHNSUN (on drums.) Four pieces. Incredible. (PLM, just passing by to say hello. But seems nobodys home.)

If you want to try to listen to GTM, get the followings: - TWO COMPOSITIONS (TRIO) 1998 (LEO) - FOUR COMPOSITIONS (GTM) 2000 (DELMARK) I didn't like much the GTM concept until I heard those two master pieces. Now, I start to dig even older stuff that I couldn't stand before! Spoken about solos or duets, there is a little gem who is much ignoring by most. Title is ANTHONY BRAXTON/ STEWART GILLMORE DUO: 14 COMPOSITIONS (TRADITIONAL) 1996 (LEO). All of those who can't imagine to listen to BRAXTON if not playing standards, try this one. It comes from the same family but dealing with older material (KANSAS CITY BLUES, DO YOU KNOW WHAT IT MEANS TO MISS NEW ORLEANS?, I'M GONNA SIT RIGHT DOWN AND WRITE MYSELF A LETTER, SOMEDAY YOU'LL BE SORRY, THE MEMPHIS BLUES, etc.) STUART GILLMORE was one of his student. He plays many differents instruments who goes, here, from flute, trombone, euphonium & sousaphone to alto sax, cornet and piano. To give you an idea how the music they play sound, think about the duet between KONITZ & MARSHALL BROWN doing STRUTTIN' WITH SOME BARBECUE on THE LEE KONITZ DUETS (MILESTONE). Multiply it by fourteen and add just a bit of free form solo here & there and you have it. Of course, BRAXTON has never been better than in his solo performance, some of his duets (MAX ROACH, GEORGE LEWIS, EVAN PARKER) and with his great quartet (one the greatest jazz/improv combo ever) of the eighties (MARYLIN CRISPELL, GERRY HEMINGWAY and MARK DRESSER) known today as the CLASSIC QUARTET.

JOHN COLTRANE quartet, quintet, with MILES or MONK or what ever. Perhaps in another life. ALBERT AYLER that I could have seen at Saint-Paul de Vence (Fondation Maeght) but didn't just because THE MAN WAS UNKNOWN TO ME AT THAT TIME (young and foolish - I mean me.) The difficult thing to swallow here is that I was visiting the Fondation around the time (end of July 1970) the man gave his two concerts there. And, even If I've seen few times MINGUS in the seventies (with DON PULLEN & GEORGE ADAMS and without), I'd really liked to have seen him in the early sixties (AT ANTIBES, by exemple) or, even better, in 1964 when he plays in Paris or London some of the concerts we get back now on CD. And also MONK, let say, between 1954 and 1959.

Just a quick visit to the thread (too much work). The five AYLER according to my taste (of course) : SPIRITUAL UNITY (ESP) SPIRITS REJOICE (ESP) LIVE IN GREENWICH VILLAGE (COMPLETE) (IMPULSE!) NUITS DE LA FONDATION MAEGHT (1970) (WATER / SHANDAR, whatever) WITCHES & DEVILS (FREEDOM or, better, DA MUSIC with a remastered version in 24 bits who sounds gorgeous) and the five BEEFHEART: TROUT MASK REPLICA (REPRISE) LICKS MY DECALL OFF, BABY (REPRISE) I GOING TO DO WHAT I WANNA DO: LIVE AT MY FATHER'S PLACE 1978 (RHINO) CLEAR SPOT (REPRISE) SHINY BEAST (BAD CHAIN PULLER) (VIRGIN)

I'm just going thru the two "russian" (quoted because it's mixed bag with French and German - Mr Kowald himself - improvisers on but it's an enterely russian edition) records than David has quindly send me. So far the impressions are very positives. I will report during the comming week (of even before), here and more precisely, what I thought of what I've heard.

As leader: RIP, RIG AND PANIC WEE THREE KINGS THE INFLATED TEAR Honorable mention: DOMINO As sideman: OH YEAH (MINGUS) LIVE AT CARNEGIE HALL (MINGUS) OUT OF THE AFTERNOON (HAYNES) honorable mention: THE JAZZ CORPS UNDER THE DIRECTION OF TOMMY PELTIER FEATURING ROLAND KIRK (PACIFIC JAZZ)

With LEO SMITH, my favorite trumpet player from this generation. Best album, so far, is for me, SHADOWS AND REFLECTIONS, but DOOR OF THE CAGE and MARIONETTES ON HIGH WIRE are not far behind. Check also the NEW YORK JAZZ COLLECTIVE on a NAXOS CD called I DON'T KNOW THIS WORLD WITHOUT DON CHERRY. It features, besides CARROLL, MARTY ERLICH, FRANK LACY, MICHAEL FORMANEK MIKE NOCK, PHEEROAN AK LAFF & STEVE JOHNS. It's an enjoyable meeting even if it's not as a strong work as his nominal records.

My quotation was badly selected. I mean THE PEACH ORCHARD is the best WP and not O'NEAL'S PORCH that I don't like more than you. But I stand with my (corrected) statement: the best WILLIAM PARKER is THE PEACH ORCHARD, at least it's the more representative of his work at his best. I like very much ... AND WILLIAM DANCED but, really, I consider this record more of a ANDERS GAHNOLD's one (or, least, I will credited to the trio) than a WIILIAM PARKER. PAINTER'S SPRING (trio with DANIEL CARTER, HAMID DRAKE) & BOB'S PINK CADILLAC (with the wonderful Mr PERRY ROBINSON & WALTER PERKINS) are two others records of WP that I like quite a bit.

Send you a e-mail, yesterday about one of the record. Did you receive it? Can you answer to it? Thank you

This is, for me and so far, the best record of WILLIAM PARKER.

Two CDs worth to listen to: - GEORGE ANTHEIL: STRING QUARTETS/ THE MONDRIAAN STRING QUARTETS (ETCETERA) (publish in 1990. OOP?) ANTHEIL wrote three string quartets in 1927, 1928 et 1947. The two first (and particularly the first, his best IMO) are reminiscent of the work of the avant-garde of the time. ANTHEIL knows very well his SCHOENBERG, BERG. Even if it's far to be as radical as the Viennese, both compositions shows that the guy has a great talent. The third is in a neo-classic vein, when the "bad boy of Music" has turn definitely his back on the avant-garde and choose to be a "neo-classic" instead. If you know a bit about string quartets you will notice the influence of BEETHOVEN (but who wasn't influence by?) but also the close relation of this composition with the string quartet of DVORAK op. 96 called the "American" quartet. GEORGE ANTHEIL: SONATAS FOR VIOLION AND PIANO 1923, 1948/ VERA BETHS & REINBERT DE LEEUW (AUVIDIS-MONTAIGNE) (published in 1994. OOP?) ANTHEIL wrote four sonate for violin and piano (and a sonatine). Three are feature here. The two first are under the influence of STRAVINSKY throught the dissonance and the radical use of a strong ryhtmic patern. The third is a neo-romantic composition but with a lot of rythmic energy. Interesting but not at the same level than its predecessors.

These records has change of editor but are exactly of the same quality. And they are selling at the same price (at last in France and in Belgium.) So getting one or the other doesn't change anything.

The same here. Between us (I mean my "jazz" friends and I) we use to call him, the type writting machine (hope it's the correct translation of "machine à écrire".)

I vote for OUR MAN IN PARIS because of his incredible rythm section and the sharp and in the same time generous sound of DEX. DOIN' ALRIGHT is a close second followed by ONE FLIGHT UP, GETTIN'AROUND, GO, A SWINGIN' AFFAIR and DEXTER CALLING.