Green Dolphin

Must say I think it's better than "OK..."as are Kid A and Amnesiac,musically speaking...and have they been listening to Brad Mehldau since he's been listening to them?

Flaming Lips,Mercury Rev,Yo La Tengo,Godspeed...,Tortoise,Sigur Ros,The Blue Nile,Beck,Bjork,Stones Roses(1st album only)...the new Radiohead is good...when I'm in a "whiney" vocals mood!Plenty more out there probably but the jazz gets there first,everytime!

Good to see lots of you listening to Bley...

Have to agree with Jsngry,it's fave singers really-Mnytime flags up the omission so far of Mr. Wilson(a heavenly voice)but I must say if you've made it as a "soul" singer then what more is there to say?Anyone out there with me on the I'd rather listen to Dionne Warwick than Aretha front tho'?

i'm still listening but first impressions are it doesn't quite match their last set "Just Add Water"(Fowlkes is a great player but Ray Anderson is missed).Previte likes a groove and most of the time I'm with him on that but found the two sets from the "My Man In Sydney" band a bit limited.Swallow does "sound" different here I must admit and it's not an enviroment one would normally associate with Ehrlich either,but Horvitz,an eclectic player if he's anything,sounds great.I'd imagine this band kills live and wouldn't go so far to say I'd expect better of them-they're having fun and it's fun to listen to.No match for the Weather Clear Track Fast albums tho'!

Keith Jarrett-Up For It Bobby Previte-Counterclockwise Chris Lightcap-Bigmouth Archie Shepp-The Way Ahead Radiohead-Hail To The Thief

Yes that would be a good move... Re.The W.M. deal ,could that be the reason they haven't reactivated the boards yet?Plenty of scope for closing them down again if they had...

Great as it was to see Hill back on Blue Note,Eternal Spirit was a slight disappointment(particularly as it saw a reunion with Hutcherson)-dare I say lightweight in places,nice enough but not for Hill to me(not a patch on Shades!).Had to join the digital age back then to get "But Not Farewell",well worth it,a vast improvement,far more "meat" on the pieces too.

Yeah,that track knocks me out still(his best trio performance?).I'd rate the set as his best non-BN,but can understand reservations about Jordan,he's not as dark a player as hornmen Hill usually favours but that provides a nice contrast for me.

Nobody's mentioned Roswell Rudd.

I'd pick up "Procession Of The Great Ancestry" on Chief too, before it disappears,something for everyone on that one.Also the two sets with What We Live are worth checking out,"Trumpets" on Black Saint and "Quintet For A Day" on New World-the former has cuts split between him and Dave Douglas and the latter sees them lock horns for the whole set-great stuff!

The new Jarrett,new Moran,Miles At The Cellar Door 6CD(3 doubles)and the new Miroslav Vitous with Garbarek,Corea and Dejohnette(this could just be a rumour)

Adding to Rooster's spot on points above-I've always been of the opinion that you either get Ornette or not(there's also the indifferent but they're not hearing much!).First and foremost Coleman is a musician who plays what he hears and,at the risk of barstool psychology,angled toward synastheasia(the "harmolodic" suits!)-the theory bit is so complicated because it is a smokescreen hence technique based musicians problem with it...it just is.Rooster's point re. Haden and Cherry's music(to those I would add Metheny's aswell! )is down to the fact that these are all musicians,rather than merely players,whom by playing with or been smitten by,have opened up this most pluralistic style.I often find Ornette tunes emerging when I'm in whistling mood,Dancing In Your Head really does dance...so simply.Higgins and Blackwell were very "musical" drummers also. And yes,Monk's world is similarly arranged to me,and I'm forever grateful for exposure to such spheres.

Astigmatic is the one to start with,Stanko,in particular on great form.There's a live version also on Power Bros. featuring future violinist Michal Urbaniak on tenor-haven't heard it,anybody else done so?

...as such.Though he pops up as a sideman on plenty of things I have,(Mingus,Pullen,Ulmer/Phalanx)I just wasn't buying them for George's presence alone.Funny thing is I'd always thought vice versa on the original quote re. the poor man's(there's a brief entertaining thread there somewhere...Anthony Braxton,the poor man's Kenny G).There are many paths...

Poor...certainly,particularly when DIW were laying 'em out in threes in the early 90's. And I've barely spent a penny on George...

What's wrong with cliches?Sometimes they are such because they are true.I'll be checking this one out come next payday,thanks for flagging it up

I'll admit I was being a bit glib(it was late)but the point I was trying to make that from what I've heard and read at the time Murray's arrival (along with many others)perhaps seemed to herald a new dawn for the avant -garde(the new Ayler etc.)-I know there were plenty still keeping the flame alight.I just think that advancements in the music were minimal after the 60's(barring fusions of various types),pop and rock haven't changed fundamentally either.Dance music,rap,hip-hop are different matters tho' I see music in general after the sixties as going forward with a cross fertilisation between genres(fusions)rather than advancing at the pace it had before.This is sounding like I'm saying free music was a creative dead end,I'm not,but how much further out could the music be taken after "Ascension"?Thankfully these regions are still being explored and there's plenty of great music being made and hopefully continuing to be made but I for one am glad Murray made albums like "Spirituals" and "Shakill's Warrior" aswell as "Low Class Conspiracy". I got into the music in the 80's and here in the UK jazz made a revival as a lifestyle accessory-playing in the background of wine bars,Monk advertising Volkswagens ,the sharp suits(no I wasn't in that demographic),we had our Wyntons here too.Whilst I had no time for that poltical climate(Thatcherism,Reaganomics there wasn't a lot of difference,and as we know this still lives on)can I offer this chilling thought-if we didn't have all that then maybe we wouldn't have the the veritable cornucopia of choice we have today re. the reissues,new releases,mags,forums.I'd love to see Henry Threadgill in the Lincoln Center rather than Marsalis but that's not going to happen.Too many sheep!!!The margins are the first places to get the squeeze in hard times.Looks like I'm espousing trickle-down here,hell I need a lie down.

I've one more thing to add on this topic reLAting to the shock of the new.Older listeners who came across the likes of Ornette,Coltrane,Cecil Taylor,the AEC must have been blown away,as it happened-same in the rock sphere with Jimi Hendrix-popular music was still "young" then.After the fusion craze of the early 70's when everyone seemed to want at least a Fender Rhodes on a session someone like Murray coming along in the middle of the decade must have seemed like he was relighting the torch.But where was there to go after the initial burst.Us younger listeners have a good overview of it all but we weren't there-keep the flame burning by all means but I'm of the opinion that innovation has been pretty limited regarding the avant garde these last 30 years,and in fact in most forms of improvised music-the yardage gained is much more acute than then.This is probably a topic worthy of a separate thread-"What's new"?,and maybe we keep listening now more for reassurance.But one thing,in reference to the above post let's hope that race won't be an issue in 30 years time and Dave Douglas and Roy Campbell can be equally appreciated by all

There's a couple of LP's on E-bay,one(a promo)ends tomorrow and stands at 4.99 USD ,one bid only.Haven't seen the cd around s/hand for a while apart from Amazon Marketplace at $50!!!

"Quality of ear"!!! Chuck's reply was much appreciated and fair comment,but Simon this ear quality thing sure does sound like an elitist concept.We like what we like for a variety of reasons and as Chuck pointed out communication(taste) is a very personal thing as in how we like to be communicated to(and vice versa),but better "ears",sorry but I don't think that was what he was getting at.My basic aural hardware handles Ayler to Metheny and plenty of points in between depending what mood I'm in-once you get into someone's taste(and judgement) is better the more rarefied it is then you're in elitist territory in my book.

Air's "Air Lore" possibly-Henry Threadgill,Fred Hopkins and the much missed Steve McCall.1979,Bluebird-reissued on CD in the late 80's but oop again now.Surely needs to be back in circulation again

If Murray was a fake the why didn't he stay in California and mine the fusion seam?I can understand why the hair shirt free only mob chide him for selling out,and that he can come across as arrogant,but hell,the guy can play,refuses to be pigeonholed and has been releasing stuff of consistent quality for 20 odd years. Check out the early stuff for the freer side and look out for the storming meeting with Milford Graves,Real Deal,from 91.But talk of Murray as a free player and Ayler disciple belongs in the distant past.Personally I 'd rather listen to him on tenor than any of his contemporaries,even if he has threatened my bank balance with meltdown on more than one occassion.

I find that stuff that ships Global Priority sneaks through-but stuff from Tower US and Amazon .Com gets hit-for shipping aswell which I think is out of order.The Music Resource out of Floyd Knobs(good range of stuff)kindly write educational material on the green ticket,of no value,so that gets in ok.Like JohnS,I've found getting Mosaics via the long wait of post gets through uncharged aswell.

Not sure,but there's 9 tracks in all so probably a single.There's also another new one out in the fall,this could be the recent solo gig from Japan or more trio in the vein of the last two(ECM are apparently taping all shows by them these days).