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Still happens that I'm awake. Oh my, should be up at 7.30. Yes, if you haven't heard the disc, Bishop gets some nice highlights here for his nice multiphonics stuff as well (nothing too show-offy though, he makes it work musically which I appreciate). I'm listening to the bonus disc, as I type this - for the third time overall and so far, I've found it weaker than Six for Rollins. In any case, if you're curious how they play Kirk's compositions, it's worth the extra $3.5. Somehow, though, some of the solos are surprisingly weak and the band just doesn't kick as it did on the Rollins tunes - nice playing but nothing that inspiring (unlike the Rollins disc, again which I really enjoyed). It might also be the fact that I hugely prefer Rollins' tunes to Kirk's as well, so there. The review would be up at jazzcorner - you'll be pretty disappointed I'm sure by my writing skills but check it out nevertheless (at least it'll be a somewhat informed opinion).

J.A.W. - good to hear you enjoyed the discs, in fact from what you say you might just happen to like them as much as I do. As I said, I will post short impressions of the latest two in a couple of days here. Meanwhile, I'd just like to note that "Short Trip to Nowhere" is also quite good and has one of the strongest grooves ever on the first track. For those who might be interested - The new V5 is ok. I now have jotted down enough notes to fill a page, will likely post a review tomorrow (at my other hang-out). I found Bishop to be the most impressive soloist overall followed closely by Rempis, who sounds very comfortable in his solo on the up-tempo-swing fourth track. Vandermark's solos sound much more convincing when he sticks to what he does well. Anyway getting late and my writing is getting less coherent by the minute I think. Lovely ballad, though.

I'm not in the mood to elaborate so you may ignore this, but my vote for the next one to pick would be: "Litania Sibilante" (accessible yet diverse material, the beginning 5 secs are almost surely the loudest part; diverse it is has a nice rendition of Loverman and the final tune has..hmm well I won't give it away)

J.A.W. - you know what my opinion of the Tentet discs are. But again you and I seem to listen for different things, whatever they are, in most avant-jazz music so my liking them might not be the best of signs there. However (this is not for you but for those who might be curious) the 3 discs as a whole are quite listenable and proive a firm rhythmic anchor; all-roaming-free-blowing tunes/sections are more like in the minority here. (By the way since it's been mentioned here a number of times, I wonder whether you have listened to Barry Guy New Orchestra's Inscape/Tableaux as I find that to be a quite good exemplar of how Mats' unique style can be drawn upon selectively to make the music richer as a whole and add color.)

Works fine (has been since Friday).

D.D. - you got me there, no I don't have that, I should have said Chicago Octet/Tentet (plus two, whatever!). The line-up looks good, the brass section in particular - I really like hearing Rutherford play. What, and has Wener Ludi as well; though I tend not to enjoy guitar in free settings I might give this a try if only for the unique line-up.

Not that there are lots of large-ensemble recording floating around in mainstream jazz either but they are especially rare in this vein of music - working bands in particular - so I try to cherish my Tentet recordings (not that I need to try, I think all kick major booty - the only one I don't have is Broken English)

Sorry to appear hyperactive today but one more I really enjoy is Irene Schweizer & Marilyn Crispell - Overlapping Hands...Eight Segments (this is a two piano duo with each segment exploring another motivic, ryhtmic, or technical (as in a way to play) idea - nothing bombastic about this and I really enjoy hearing them tossing around ideas and how quickly they are to pick-up on such ideas). And, again, I made mention of Misha Mengelberg's solo piano disc "Impromptus" earlier but I would not recommend that to anyone who is not a fan of Misha, nor would I choose it as an introduction.

I can recommend some titles I enjoy but your question about the ratio hits-and-misses was a different one, I thought. As in, would the surprise I experience be pleasant or unpleasant if I were to buy an FMP title at random? If I were you I would ask around here and check the review sites before buying. I always do this and although have traded-out some FMP titles in the past, am yet to be downright disappointed. From what I can recall others have said, I can add my vote for Keith Tippett - Mujician I & II Die Like a Dog - Little Birds Have Fast Hearts vols. 1 and 2 (under Brotzmann) if you like your music bombastic and intense then also, Cecil Taylor Quartet (w/Oxley, Guy, Parker) - Nailed Hmm...there should be many others, of course (at least some large ensembles) but these three (or four) do demonstrate the wide variety of music found on the label.

I get all my avant-ware from vergemusic. So far, I've been very satisfied on all acounts. (apart from the few I order directly from the artists or labels)

D.D. - I received them last week but I happened to receive about another dozen discs (oops) so haven't got to them yet. I will report in a couple of days, though. Meanwhile, (having listened to only the first disc, a number of times, yet) the Atomic/School Days disc is quite good. High-energy jazz with some very nice tunes - what you would expect from these two bands. I'm especially impressed with Wiik and Love so far and the overarching style here is quite fitting to Vandermark's strengths in improvising.

I have taken some notes on this but will need a couple of more spins to reach a sound conclusion. Suffice it to say, at this point, that it won't convert anyone - neither is it likely to disappoint fans. Don't be fooled by the title, though, no surprises here - style related or not, unless V5 has been the only near-avant-jazz you've been listening. Some more and longer unaccompanied solo or duo sections in some tunes that've been better incorporated into the structure, but that's about it. I like the ballad - as a tune; listened to them play it live twice and now on the album, still sounds very nice. One more thing, someone should remind Mr. Vandermark to perhaps reconsider taking solos on up-tempo swing-feel tunes - some of them sound kind of embarrasing, not everyone can do everything. Bishop does a much more satisfying job in duo/unaccompanied solo sections than he does with his solos on tunes - they sound a bit too homogenous across the different tunes to my ears. edit: It doesn't come across here, I guess, but I really enjoy most of his projects.

By the way (Jon already knows this but in case others are assuming elsewise), I already have 13 eai records and will place another order for 5 in a week. All of those 5 will be on erstwhile and 9 of the 13 are erstwhile releases. As with all music I listen to, I like some and others I like less. My reaction was to how Jon chose to express himself, only. Again, he, in turn, might not like the way I express myself but for me this has nothing to do with relative merits, as it were, of different styles of music. Nothing I said even relates to music. Some people have strong opinions, which I'm all for, but then putting them in a bit too strong a language might create unintended and unnecessary tension among lovers of different music. "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." - FWIW, this, I think is very well put (unlike your initial reaction - and I know you might not care for what I think but here it is) and I wouldn't think anyone would be offended by this (again, unlike the first comments).

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. What makes you think anyone is looking for fights relating to different styles of music any more than you are?

I would say get "Sky Piece" and not the box. Unless you are totally blown away by the music there, do not get the box. I've gone through all of his discs for Knitting Factory and "Sky Piece" is the only one I've kept for good. The others are good as well but, again, you will want to have them only if Chapin's music totally grabs you (otherwise Sky Piece is the best one disc representation of his music, with one of the best versions of "Ask Me Now" I've ever heard). If I recall correctly, he also has some killer straight-ahead solos one of Braxton's standards discs (Braxton on piano, Dave Douglas on the Trumpet, and akLaff/Pavone on dub) edit: Ooops, I see that you already like Insomnia a lot, so you might want to get the box, after all.

ubu, both volumes of "Little Birds . . ." by that quartet should be given a hearing, definitely - and then you decide whether you like them; I do. Nice liner notes and pictures, as well.

Chaney - but that one's really some good now, no? On Misha - D.D., I would love to see them live - did they play as a duo? Agreed, Root of the Problem is not a highlight either. My first rec's for the swingier, joyful side of Misha in conventional formats and playing as straight as he ever will: Misha Mengelberg Trio - Who's Bridge and Misha Mengelberg Quartet - Four in One. The latter is a bit more extrovert and includes some of Douglas' best solo playing to my ears. The trio is Misha with Joey Baron and Brad Jones and the quartet is MiHa, Dave Douglas, and Brad Jones. All originals with quite a bit of variety in the trio from bossa tunes to his original based on rhythm changes. The quartet session includes Misha's tune that also appeared on Dolpy's "Last Date" as well as a couple of Monk tunes along with originals. The ICP Orchestra discs are mostly recommendable as well. I haven't heard the very recent release yet. If you want one, though, I'd pick Jubilee Varia for the compositions and some fantastic solos by Moore. This has lots of variety, e.g., the first track is a MiHa duo, and gets lots of play here. Solo Misha I would only recommend if you really dig the way he approaches improvisation. I've heard very good things about "Solo" and waiting for its arrival soon so might report back then. "Impropositions" I've come to really like, but note I say have come to and I really like his playing. On October Meeting 1991 3 Quartets, Bennink/Dresser/Braxton/Misha play 3 standards and I think he quite steals the show there (this is on the Bimhuis label, and even though compilations of this sort are not my thing, works pretty well with the other 2 quartets, all rather different) So I'd say get either Who's Bridge or Four in One and Jubilee Varia. If you're not intrigued, better to explore other folks' music. I'd be happy to answer an specifics about the above albums. Best, Gokhan

Chaney - you must be feeling good, that's one hell of an album there. Two Days in Chicago - Some interesting line-ups. I enjoy the trio pieces with Misha/Drake/Ken and the other shorter pieces with Misha and a rhythm section of some kind (2 cellos or drums etc.). The longer pieces (with Anderson) don't do much for me as Misha's music and personality kind of get diluted by the "let's hit it hard and make it groove" approach. A nice rendition of Round Midnight, though I had much higher expectations before first hearing it. It's been a while since I listened to the long solo piece (but lately I've been enjoying his "Impromptus" quite a bit) so can't comment there. The pieces with Baars fall flat, I think. So let me see, although good in spots and has variety in format, this is my least preferred Misha album.

If you dig Cecil's solo work, "Air Above Mountains" would not disappoint. That was the one I used to use to introduce my friends to Taylor. (Tangentially related comment: Most were musicians and none were less than impressed. All went on to hear more, some also liked the music in addition to being impressed, others found it too intense.)

Thank you Jim. I'll keep an open eye for that one.

Pete, any suggestions on where to start - if you've heard her albums?

JSngry - Larry Smith also plays on "Parker's Mood" on Carter's "Conversin' With the Elders" and that's about as much as I know of him. In the notes to that disc, Carter has a couple of lines about him being some sort of a local hero and veteran of the scene, I think.

"NY Midnight Suite" by Dennis Gonzalez's NY Quartet is, on the basis of two listens, quite a good disc. A three part suite and three other tunes with 5 of those over 10 minutes. Lots of trio sections with sparse, but driving, rhyhtm section. Good blowing by both Gonzalez and Eskelin and some open ears accompaniment by Helias as well. I like it, as in here, when you can hear the contrast in the way the front men solo. More later maybe.

Sonny Rollins Plus 4 and "Clifford Brown and Max Roach". Seeing the many votes the latter has gathered, I've voted for Sonny Rollins Plus 4. edit: Could not vote actually as I've clicked on the show results button which also led me to give a null vote I believe.

Inscape / Tableaux is a very good disc - both powerful and intense playing as well as the beautiful piano/bass interludes. Some nice session photos as well, Guy's excepted. If you're ordering Intakt's you might also want to get "Double Trouble Two" (w/Crispell and Schweizer) and "Theoria" (w/Crispell) if you are interested in Guy's large ensemble work (these are both with the LJCO). I've recently acquired these two myself and have given them lots of spins since.