Leeway

That, my friends, is a potent line-up!

How is that? I was outbid recently on a copy

I wasn't thinking of Miles' memorial date at all, but I was spontaneously moved to play a couple of sides of Agharta. I guess Miles still moves in mysterious ways.

"Curated" that hodgepodge!? I guess in the same way that Stone Cold Creamery "curates" your mix-ins. (What a pretentious cliche. Does this make Moran a curator now?). The nightclub seating concept is straight from the KC Jazz Club. I can see why Threadgill didn't play a note with this mish-mash. That would have been to participate in a travesty of his own work.

Another dispatch from the vinyl frontier. http://www.washingtonpost.com/entertainment/music/pressing-plants-feel-the-strain-with-vinyl-records-back-in-the-groove/2014/09/25/41f6b22a-386d-11e4-8601-97ba88884ffd_story.html It's sort of mentioned in passing, but it is rather amusing to realize that (ostensibly) CDs supplanted LPs, downloads supplanted CDs, streaming is now supplanting downloads.

Okay, if you insist. I think the worst concert by a name avant-garde player I've ever seen was by Joe McPhee. That was really a terrible experience; I truly hated his trumpet playing. Maybe it was a bad night, I don't know, but I have no interest in investigating further. Peter Brotzman I didn't like very much either. I will say that he is impressively loud. However, I'm not really anti-avant garde. So far this year I've seen Bobby Bradford and Bern Nix live. And I'll hopefully see Dave Burrell in a couple of months. I'm trying to reconcile what you are saying with what I know about Joe McPhee. I'm trying to figure out if you had a bad night, or if Joe did. I'm trying to figure out if listening to Joe in concert with Evan Parker, a few weeks ago, sitting not more than 5 feet from Joe, who played trumpet and pocket trumpet, played it beautifully and even sublimely, is the same Joe McPhee who was horrible and screechy and incapable of playing trumpet. Certainly, if he was screechy, I would have heard it 5 feet away. I didn't. Certainly, if he was horrible, I can't imagine Evan Parker wanting to play with him. And this has been my experience in going to Joe McPhee performances over the last 10 years, in all sorts of contexts. And I also can't imagine that the Joe McPhee you picture is the same Joe McPhee who made many HatArt classic performances that helped define avant music. I can't imagine it's the same musician who plays on the superb Decoy/Oto albums. So, no, I can't credit your account. It's too bad you won't "investigate"further, as you will miss out on some great music.

In terms of the apostolic succession of Steve Lacy, Ideal Bread has Josh SInton, who studied for a couple of years with Lacy. The Whammies have Jorrit Dijkstra, who also studied with Lacy, although I think for only a short time. However, The Whammies also have Han Bennink,, who actually played with Lacy. Let's call it a draw. What I like about both groups is that they take a Lacy-like approach, somewhat against the grain of expectations. I found it easier to like the The Whammies on initial hearing than Ideal Bread. But I haven't heard Ideal Bread's latest, so that remains to be done.

NPR, ironically, is less enthusiastic: http://www.npr.org/templates/transcript/transcript.php?storyId=350633603 In my view, Moran did his best work with Greg Osby, and Osby did his best work with Moran. I don't know if they accentuated each other's positives, or nullified each other's negatives. Moran has always had a habit of "cultivating" older, even legendary jazz figures, from Sam Rivers (almost always cited when Moran is mentioned) through Cecil Taylor (Moran tried to play duet with Cecil (!!) at a Kennedy Center concert, which fortunately was cancelled), Anthony Braxton (Moran inserted himself in the ensemble at a Kennedy Center performance, with ugly results), and now Fats Waller. Fans might say he is working "in the tradition." Non-fans (me for one) might say he is latching on to true musical visionaries in an attempt to make up for his own deficit of musical vision. Moran took over Billy Taylor's spot as Jazz Director at the KC, and it seems quite apt to me, since Moran strikes me as a Billy Taylor for our age. I won't be picking up this new album (I'm allergic to crossover), but I've enjoyed Moran's work in the past. I saw that Anthony Braxton concert in DC as well, and didn't think Moran embarrassed himself. He seemed a bit superfluous, but that may be due at least in part to Braxton's current direction, where the piano does not have much place (it seems, and based on his recent discography and performances). I have to disagree with you. Being superfluous during a performance, to me, is embarrassing. He had no business on stage then. Is such a performance now a platform for dilettantes? As for piano integration, Braxton, I think, is pretty sympathetic to the piano, since he has composed for, and plays, piano himself. Thank goodness the Moran-Cecil Taylor duo performance (also at KC) never came off, although I was sorely disappointed to miss Cecil.

STANKO - Tomas Stanko Quintet & solo. PolJazz. Nice to hear Stanko incisive, energized, and even edgy, minus the usual mistiness of some of his other recordings (ahem).

Does George sing on many tracks? I've always struggled with his vocals and have avoided this album just in case. That line-up's sure to deliver though He sings one one blues - "Got Somethin' Good For You." I like his singing, but everyone's taste is different, of course. Thanks Jeff. now playing Mal Waldron - The Quest [New Jazz] You're not the only one with an aversion to George Adams' singing. His singing on "Devil Blues" is ridiculous. Dude had cajones. Gotta give it to him even if it's hammy. Ha ha, "hammy," I like that! Sorry, could not find a smaller photo of this album.

Does George sing on many tracks? I've always struggled with his vocals and have avoided this album just in case. That line-up's sure to deliver though He sings one one blues - "Got Somethin' Good For You." I like his singing, but everyone's taste is different, of course. Thanks Jeff. now playing Mal Waldron - The Quest [New Jazz] You're not the only one with an aversion to George Adams' singing.

Hill had something more than Chutzpah and an ability to sell himself--your description fits Moran so beautifully!- he had integrity, he had his own music, he had his own vision, and didn't need to flit from PR-friendly gig to PR-friendly gig.

Steve, you skipped #3 . mjazzg, you know I wanted it but budget and all that . I'm waiting for his next "collaboration" - who can it be? Brotzmann? Evan Parker? I'll hold out for that.

I saw Fujii in a trio the other night at Pathhead ( a small village outside Edinburgh. Tom Bancroft (drums ) lead the completely improvised set . It was a stunning concert that really defies description. I felt truly privileged . I ended up buying 4 discs featuring her or her husband ( trumpeter Natsuki Tamura ) I think her Ma- do quartet is possibly her best group. I am promising myself to get this recording. Plus I love the cover. I hear good, even great things, about Satoko Fuji, but it is going to take me a while to get over her disastrous Vision Fest appearance. Maybe her husband can take some of the blame for that, but it was still her gig. One of the big disappointments for me. Perhaps she comes across better on disc. Broke the piggy bank today and ordered: 1) Badenhorst, Joachim / John Butcher / Paul Lytton: Nachtigall 2) Decoy with Joe Mcphee: Spontaneous Combustion [2 CDs] (have the LP but need the additional minutes) 3) Mitchell, Roscoe / Mike Reed: In Pursuit of Magic 4) Nilssen-Love, Paal Large Unit: Erta Ale [3 CD BOX SET]

But doesn't Moran fancy himself something of an avant musicians? - Rivers, Braxton, Taylor, Threadgill, Oliver Lake, et al? He certainly seems to like getting into their performances. Sorry you don't enjoy these types of performances, but I can understand that, since sitting through straight-ahead stuff depresses me. To each his own, and no argument there. As for the Board, I more than suspect the advantage is towards the mainstream, although I think the tilt has not been as great as formerly.

Thank you sir, I suppose one man's meat etc etc . Not sure how or why but Rempis has elevated his game in a substantial way. In terms of performance, I don't think there is a significant difference between Vol. 1 and Vol. 3 (don't think I have Vol. 2). Vol. 3 might show a bit more comfort level. You might look at the track listings for each CD and see which has the more appealing Lacy composition line-up, but I don't think you can go wrong with any of them NB: These albums, like Lacy's albums, need a couple of listens to start getting into them.

That's funny! I guess in that way, the novel works. Reading Drabble's "Jerusalem the Golden," I also found it hard to be sympathetic to the heroine. The question I'm still uncertain of, is whether Drabble too found her unsympathetic, and was treating her ironically, of if she identified with the heroine, and meant for the heroine to be taken on her own terms. Maybe it's not an either/or. I have "The Waterfall" hanging about, so will eventually see if there is the shock of recognition.

I think I acknowledged that if one is a fan, then Moran is connecting "with the tradition," and if one is not, he looks like an opportunist, riding the coattails of bigger and more substantial names. As the evidence accumulates, and the pattern has developed, I've had to question what Moran is about. Would anyone argue that Moran is of equal artistic stature with these artists we cited? Who benefits the most in the relationships? What is the fruit of these hook-ups? For me, the answers are: No, Moran, and nothing. That adds up to a big question mark to me as to intent and integrity. Not to mention a penchant for razzle-dazzle PR gigs that go nowhere, and one starts to question what is going on. I'm just wondering, to paraphrase Gertrude Stein, if there is a there, there.

Why not an album dedicated to playing the music of Jason Moran? The guy is constantly hanging his hat on somebody else's tree rack. Singled out? He makes his own case. I forgot to mention that he has some kind of talk/play gig with Henry Threadgill in NYC. What is his connection to Threadgill or Threadgill's music? I can't be sure if it's not much, or none. But hey, I'm sure it will make for some good (N)PR! What makes him think he can schedule Cecil at the KC, then schedule himself as a duo partner? Do you seriously think he's of the calibre of CT, even an 80+ year old CT? Why does he think he has the prerogative to schedule Braxton at the KC (and I do give him credit for that), then insert himself as the piano player in the ensemble, only to realize he was way out of his league. How much collaborative work did he do with Sam Rivers after that inaugural album? With Braxton? Cecil? Threadgill? Before the Waller album, I believe he went 4 years without an album of his own (excluding the Lloyd and Trio 3 albums). I infer from that he didn't have much to say of his own. These instant hook-ups strike me as more resume buffing than artistic quest. The guy's earlier albums were promising, not trying to deny that. But now he comes off like, if not the Billy Taylor, the George Plimpton, maybe even the Ryan Seacrest of mod jazz pianists, playing the next high profile gig, then moving on.

The first Tamarindo has the excitement of "the new." The most recent has the fullness of experience. Both very good in their way. I might prefer the first by a small margin. I'm totally enjoying these: Some hot playing by Dave Rempis. Rempis is on a roll, am glad to roll along with him.

NPR, ironically, is less enthusiastic: http://www.npr.org/templates/transcript/transcript.php?storyId=350633603 In my view, Moran did his best work with Greg Osby, and Osby did his best work with Moran. I don't know if they accentuated each other's positives, or nullified each other's negatives. Moran has always had a habit of "cultivating" older, even legendary jazz figures, from Sam Rivers (almost always cited when Moran is mentioned) through Cecil Taylor (Moran tried to play duet with Cecil (!!) at a Kennedy Center concert, which fortunately was cancelled), Anthony Braxton (Moran inserted himself in the ensemble at a Kennedy Center performance, with ugly results), and now Fats Waller. Fans might say he is working "in the tradition." Non-fans (me for one) might say he is latching on to true musical visionaries in an attempt to make up for his own deficit of musical vision. Moran took over Billy Taylor's spot as Jazz Director at the KC, and it seems quite apt to me, since Moran strikes me as a Billy Taylor for our age.

RODERICK HUDSON - Henry James -1875 So my latest plan is to return every so often to Henry James, and in the interim continue with my general reading of authors that interest me. I've read pretty much all of James, some titles 2 or 3 times, but I find him endlessly fascinating, which is amusing as I had a dread of him earlier in my reading "career." Anyway, "Roderick Hudson" is James' first full-length novel in book form (there were some previous periodical publications). Only the buds and shoots of James' later style are here, yet James' philosophical and psychological concerns are already present: America v Europe, art v reality (or the everyday), the artist v the non-artist, the role of money, especially gifts and bequests of money, morality, women, male relationships, etc. I've read some fairly persuasive arguments that the relationship between Roderick Hudson, a sculptor, and Rowland Mallett, his benefactor and friend, is essentially a study in male homosexual relations, more openly expressed that in James' later works. I think that is definitely an element, as well as those others I cited. However, I find the novel above all a homage to Nathaniel Hawthorne, whom James admired. In a sense, "Roderick Hudson" is James' "The Marble Faun" or "Blithedale Romance."

I haven't found any link but it would be kind of cool if she was related to the avant guitarist Ava Mendoza. Eager to hear Ava live.

I don't think it was The Stone performance (which was wonderful). I think they went into the studio a couple of days later for the recording.