P.L.M

I don't know what permit you to say such a thing. I was "ROOTING" for no one. Are you completely stupid or are you only playing to be so? Or is it so difficult to admit that you have no argument here and try (seems a great speciality of yours) to take the conversation on ANOTHER GROUND AGAIN? A bit of both, maybe?

Seems than the players of the INTER MILAN (the most negative team I ever witness on a football field in the sixties) from this generation died young. Thanks, I suppose, to the great HELENIO HERRERA and his very particular method of "preparation" (this has been denonced by the brother of SANDRO MAZZOLA few months ago without much echoes.) HERRERA, the official inventor of the infamous CATTENACIO (sp?) (and many other thing, it seems) was FRENCH, by the way.

Oh sorry. I made a mistake. I WAS WRONG, YOU ARE RIGHT: it was AT 4/4 that the incident takes place NOT AT 5/5 Next time I 'll check better my fact, as your serious self do, obviously. That doesn't change nothing, by the way. BAGHDATIS was on his way to win, IN MY HUMBLE OPINION AS TV A SPECTATOR OF THE MATCH. Don't know why he would put a "little gamesmanship" at a moment where he was obviously the stronger player on the court. He looses the first point of the following game with a double fault because he was unable to serve correctly, a consequence of the CRAMPS he gets just before. By the way, The NY TIME seems to acknowledge the FACT THAN BAGHDATIS was suffering FROM CRAMPS. Thanks to have clear this point, at last So it seems that your parents was WRONG, aniway. And you, who didn't WITNESS THIS PART OF THE MATCH, definitively WRONG with them.

It's his CRAMPS that make him lose the match, brother! It happens when they was at 5/5. "Their honest opinion" just sound to me like a LITTLE biase, to say the least. Or they didn't look the same match as me. Like I wrote, his cramps start at the very end of the five set. Our could you "HONESTLY wondered how bad those cramps could have been" as you don't seem to know WHEN HE GETS THE CRAMPS. Seems that your parents forget to tell you "HONESTLY" the whole story. And as the guy was EUROPEAN and LATIN, he could only "trying a little gamesmanship". What else. This LATIN peoples are all the same: cheater by nature.

I've stated my point. What's your problem? I supposed that there is lot of GRASS FANS or fans of any kind of others SURFACES who can also "heave coins at the head of opponents". I suppose that this kind of beahaving is not particular to CLAY COURT'S FAN ONLY unless it's a kind of SICKNESS that just touch that particular kind of FAN. If it's the case nevee heard about the sickness in question.

You guess wrong, friend. The modern DAVIS CUP is all about NATION against NATION. Not really about tennis. Long time that I've stop to watch the DAVIS CUP or any tennis competition of that sort. Because tennis is one of the rare sport where it's usual (and GOOD!) that fan support a player for his GAME and not for his NATIONALITY. Through the time, I've been fan of KEN ROSWALL, TONY ROCHE, JOHN NEWCOMBE, MANUEL ORANTES, ARTHUR ASHE, JOHN McENROE, STEPHAN EDBERG, PETE SAMPRAS and, today, ROGER FEDERER, to name some. None of my "TRIBU", here. And very few EUROPEANS. So, I don't see here where your "APPALLING DOUBLE STANDARD HERE" apply. This thought of yours seems to say more about you than about me, I'm afraid.

My take exactly. US OPEN is far behind the two for me to as you stated. The amount of noise in the US OPEN and the behaviour of the spectators, has you also stated, is frankly unbearable and should not tolerate in a GRAND SLAM tournament.

THE FLAME (BLACK SAINT) comes first for me. The others on SOUL NOTE are worth to have, particularly EXOTIC HEARTBREAK with BUTCH and WILBER MORRIS and AMINA MEYERS. DUO EXCHANGE is warmly recommanded. THE CIMP are fine albums by any standard. My favorite is BODIES AND SOUL (with CHARLES MOFFET & bassist TIM FLOOD) but VISION BLUE is nearly as good (with STEVE NEIL on bass and ANDERS GIFFEN on drums). But my two favorites albums with THE FLAME comes from the session that LOWE recorded in france with bassist BERNARD SANTACRUZ who have huge and warm bass sound. The first AFTER THE DEMON'S LEAVING (AA), from 1996, is a trio with DENIS CHARLES on drums, the second, SHORT TALES (BLEU REGARD), from 2000, is a calm and beautifull duet between the two men. One worth hearing too, is another duet, the one he recorded with EUGENE CHADBOURNE (who really "plays" on this record), DON'T PUNK OUT on EMANEM. It's also the occasion to hear FRANK LOWE in unaccompanied solo on three tracks recorded years later.

To whom you can add, KARYOBIN (SME), THE BAPTISED TRAVELLER (TONY OXLEY QUINTET) and ALORS!!! (PORTAL, SURMAN, PHILLIPS, MARTIN) to have a complete picture of this crucial time

The CD tranfert (of poor recording material) is terrible. This one should only be listenning in the LP format. Aniway, one of the great album of my youth when I discovered it (around 1972).

"THE GREATEST TOURNAMENT IN THE WORLD" Certainly NOT!

I don't know if he lives in ITALY as this FESTIVAL DI PARIGI means FESTIVAL DE PARIS (PARIS, FRANCE). The 2000 edition as it seems. What's the problem with his health according to the photo? That he has get older? I'm afraid that's a sickness than nobody can escape from.

Seen him last year with his quartet (at the MIDDLEHEIM). Amazing. Seen him this year with the same quartet, again (at THE BLUE NOTE FESTIVAL). Music was slightly different and yet more amazing, for this reason. I've seen him two years ago in VIENNE (FRANCE) with HANCOCK, HOLLAND and BLADE and it was also astonishing. Hope to see him the next year and the year who follow and the year who follow, and the year who fo...

- ANTHONY BRAXTON: FOR TRIO (ARISTA)

I tell you what I've been told by a french collector and historian, a story who have been mostly confirm by an italian jazz producer from whom most of you know the label, I supposed (but who's not Giovanni Bonandrini).

RAY WARLEIGH plays on the KENNY WHEELER's DREAM SEQUENCE that PSI (EVAN PARKER'S label) has published in 2003.

Like on most italian labels at the time, except BLACK SAINT/ SOUL NOTE. I've ask the question to some "specialists" about the complete vanishing of the HORO records. They explain me that SINESIO was a contractual RAI producers and the recording sessions was first intended to be broadcast on radio. Seems that actually, SINESIO don't own no RIGHT on this sessions anymore and legally can't produce CDs from them. The question is who own the rights from the HORO's session NOW? The musician? Don't think so. The RAI? Depends what kind of contract they had with the musicians at the time of the session. And who has the tapes, today? SINESIO? The RAI? Seems to me than the whole story is a can of worms and than the label has never been really legit.

CHU BERRY?

Agreed too.

BEN WEBSTER? What's not impossible as WEBSTER lived in Holland and tour Scandinavia often in the sixties what make the probabilities that he has been seen by GARBAREK playing on stage credible.

Yeah, but like we say in French: "Deux hirondelles ne font pas le printemps".

Yeah, back in bussiness but with a not very promising new catalog. DANIEL HUMAIR was the main force of SKETCH. Without him (who plays the artistic director part for the former), MINIUM is just another european main stream label. And very far to be the most interesting with such artists like MIRABASSI, VERET or COPELAND that I 've never like, to say the least.

It is. It contains NONE of the tunes from BIRTH AND REBIRTH but few quotes from the previous record. Very questionnable. Maybe when BRAXTON was playing with MEV. Maybe in concerts (never seen personnally the two as a duet.) Far to be true for the records they do together like OPEN ASPECTS (DUO) 1982 where all the pieces (called OPEN ASPECTS) are compositions from BRAXTON.

I wonder either. I also liked to know why OM should has stay "in the can". As far as I know, nobody has ever been obliged to listen to it. Not a favorite, but a record that you can't ignore if you like late COLTRANE (and I've listen since to MUCH "unlistenable" music than OM.)

Why "was" UBU? STEVE POTTS is still alive and kicking in PARIS (at least every week or so in "Les Sept Lézards). And it'll be fair to add to the bunch of "sopranists" ANTHONY BRAXTON, don't you think?